Eclectic and occasionally eccentric, the overall vibe is more of a drunk stumble between serious and comical without threading a needle through a sweet spot that would effectively blend both moods.
Purposefully light on rational relevance, “Wyrmwood” strips out the social commentary of Romero’s oeuvre and the dark despair of “The Walking Dead” in favor of flair, flash, and cinematic style.
It’s a catch-22 approach shooting the entire affair in its foot, heart, and head with a script and a style too simple to provide any more edge than that of plastic tableware.
The film’s crowning achievement is releasing just two weeks into January and already becoming the candidate to beat as worst movie of the year.
... the film remains ball-and-chained to a delivery format that hamstrings the rhythm and to fiction impenetrable for anyone who hasn’t already invested three hours into “Haunting Melissa."
Good-natured, good-humored, and well-intentioned, “Wolfcop” still spins its wheels by pumping blood leisurely when it rightfully screams to gush straight out of the vein.
You wouldn’t tolerate “Haunting Melissa” as a three-hour movie in a traditional format. Why tolerate it as a buggy app requiring countless mobile device restarts and popup prompt dismissals?
Should anyone need affirmation as to why “found footage” has an unfavorable reputation, “Sanatorium” can punch that ticket with commanding force.
“Final Prayer” surpasses the bulk of its “found footage” brethren with enough murky moodiness and devilish darkness to make itself memorable.
“Dracula Untold” casts the count as a swordfighting head of state hero in a chatty movie burdened by “Game of Thrones” political machinations and “Lord of the Rings” steel clanging.
Who needs a mutant or an Avenger when a CGI raccoon and a semi-sentient tree can infuse this much personality into a movie already bursting at the seams with it?
Seeing Tom Sizemore play a standard tough guy gunman in a straightforward creature feature is akin to watching Kareem Abdul-Jabbar play charity basketball on the island of Lilliput.
While diehards will be pleased to see Tim Thomerson and Helen Hunt in their “Trancers” prime, the reality is that “City of Lost Angels” doesn’t register as much more than a brief blip on the radar.
Whether trashing train tracks or inspecting bloody wounds with incredulity, “King Kong” is always focused on its star’s personal odyssey throughout the ever-escalating action.
“Basement” is too goofy to be in the same league as its darker drive-in brethren, and too boring to ever warrant a second trip inside its not mysterious enough walls.
I can’t think of what I could possibly want from a “found footage” horror film about urban archaeologists exploring Dante’s Inferno that “As Above, So Below” doesn’t have.
“Feed the Gods” is a fine enough film for what it is, but its cruise control speed keeps it coasting in territory that is never truly thrilling, and not original enough to stand out.
From the truncated runtime to the non-sequitur storytelling, “Mercy” evidently went under the editor’s knife for a hefty amount of tinkering, likely more than once.
“Big Driver” can’t help but be snipped somewhat when presented in a made-for-cable format that shortchanges supporting roles and relies on TV tropes to ensure it reads as a Lifetime movie.