“Shut In” is so paint-by-numbers and bland, even a Thomas Kinkade gallery would be embarrassed to display it.
“Capture Kill Release” doesn’t so much profile a descent into madness as it does the fracturing of a flawed marriage that happens to be framed around murder.
“Behind the Mask: The Rise of Leslie Vernon” remains relevant, sharp, and the smartest satire of slasher films we’ll ever see.
I want to characterize “Dearest Sister” as a twisted take on a classic fable with an Asian frame, multicultural melodrama, and slightly supernatural twist culminating in a bloody climax.
Typical trappings of serial killer thriller meets haunted house chiller fight their way to the film’s frontlines more than anything meaningful does.
I nearly overlooked “Eloise” because the title sounds like a screwball comedy with Melissa McCarthy in old age makeup playing a goofy granny.
Creative energy puts fun into the frights, capturing the kind of ‘anything goes’ enthusiasm that makes us want to see two franchises fused in the first place.
Like a 'hungry' on a human neck, “The Girl with All the Gifts” offers something meaty and meaningful that can be chewed on as entertainment or introspection.