Lastest cars news

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The only version of the 2026 Dodge Durango currently offered in all states is the 5.7-liter model, which delivers 360 horsepower.

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Next year will see the launch of a rebranded Nissan Leaf and a more rugged variant of the Outlander.

2025 Mercedes-Benz E450 All-Terrain Review: Designed for Every Road

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Chevy and SVE have introduced a 1,000-horsepower Silverado featuring a manual transmission, eye-catching design, and limited production aimed at true truck aficionados.

VW's "All-Black" Amarok is also available in blue and grey for those who didn’t grasp the concept | Carscoops

The Dark Label edition reintroduces a more discreet Amarok featuring black accents, enhanced technology, and a V6 turbodiesel engine.

YouTuber WhistlinDiesel Faced Arrest and Charges for Evading Taxes on Ferrari He Ruined | Carscoops

The online celebrity has already posted bail but is scheduled for an arraignment on November 19. $**Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder$

Keeper, 2025 Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. SYNOPSIS: A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★ Robert Kojder

After years of deeming it unnecessary, Tesla might be subtly conceding to Apple.

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