Definitely spike your eggnog before dipping into its weirdo waters. If you have a taste for some gleeful trashiness too, so much the better.
“You Might Be the Killer” has enough charm to be casually captivating, even when its humor has a hard time hitting.
It won’t be displacing “Silent Night, Deadly Night,” or any of its sequels for that matter, as a go-to Santa slasher any time soon.
Of the titles released thus far, “The Golem” easily leads the pack as the best looking and most satisfying movie wearing the “Dread Central Presents” banner.
Shut the blinds on the story’s shortcomings, brace yourself for low voltage energy, and get on board with acceptably average entertainment.
Its effectiveness at engineering an unsettling tone enriches the experience as emotionally intriguing entertainment.
As a patchwork anthology, “The Invoking: Phantoms” is decidedly average. But examine each piece individually and sincere effort is easier to appreciate.
All I want for Christmas is to forget “Elves” as fast and as fully as I forgot “The Elf.”
Take your pick of any adjective starting with “un” for an accurate description of the movie’s thoroughly hollow thrill factor.
With an improvisational attitude contributing to its nonsensical structure, “14 Cameras” tries squeezing blood from a setup that already turned to stone.
‘Twas the night before Christmas, and what should I watch? A slasher once known as “Stirring,” now named “Mrs. Claus.”
“Lasso” isn’t merely bizarre. It’s batty in weird ways that make the movie faintly interesting only as a clumsy curiosity.
“The Unthinkable” left me absolutely awestruck with every gut-wrenching emotion and incredible image vividly painted onscreen.
Having to see longtime favorites drowning so deep in the gutter is like having to visit a cancer-stricken loved one dying in a soiled deathbed.
“Krampus Origins” continues the seasonal tradition of putting another loosely Krampus-related lump of coal in indie horror’s stocking.
“Terrified” simply charges in and goes straight to work with a lean and mean approach to classic paranormal activity chills.
Serving the minor morsel of mystery as a main meal without accompanying appetizers of intrigue leaves viewers desperate for reasons to remain invested in the outcome.
An arthouse skin applied over upsetting images and ideas brews a niche tea poised to burn some tongues while pleasing other palates.
“American Nightmares” essentially operates as “Tales from the Hood 3.” What it doesn’t have is “Hood’s” wry edge of wit or professionally sharpened appearance.
“Suspiria” emerges as the absolute best kind of remake in that it functions as a complementary companion, not a supplanting surrogate.