“To Hell and Back” celebrates the monsters and maniacs that made Kane Hodder famous while stripping off the makeup and masks for an intimate profile of the man underneath.
Think of “It Comes at Night” in terms of atmosphere, except with actual infected attackers haunting the hallways as if they sprinted in from “28 Days Later.”
Not since Jennifer Kent’s “The Babadook” has a filmmaker so creatively captured both the magic and the misery of childhood fears and fantasy.
A basic, by-the-numbers retread of Amityville tropes and classic chiller clichés in milquetoast movie form.
Polished or not, the movie is so lifelessly sloppy, it looks like a rough cut of a half-speed rehearsal.
“Better Watch Out” turns dark humor into darker horror with a wicked twist on home invasion thrillers no sane mind can see coming.
With unimpressive scope and a casual approach to inducing unease, “The Crucifixion” is a mediocre at best entry in the demonic possession subgenre.
The film is so specifically focused on ‘McKamey Manor’ that Schnitzer may as well have made the entire movie about McKamey and nothing else.
“Wish Upon” may be a textbook teen thriller. But that textbook is bound tight, with sharp corners, hefty content, and a crisp, glossy finish.
If you’ve remained a happy passenger on the “Child’s Play” train, your boarding pass is still good for an entertaining ride on “Cult of Chucky” too.
From the Carrie White clone to the cheap coincidence of a conveniently populated cabin a few feet away, “The New Blood’s” setups are admittedly silly.
If vicariously living a 3D experience in 2D makes little sense to you as enthralling entertainment, prepare for a second serving of dull disappointment.