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.
THE GOLEM (2018)
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.
I STILL SEE YOU (2018)
Shut the blinds on the story’s shortcomings, brace yourself for low voltage energy, and get on board with acceptably average entertainment.
THE WITCH IN THE WINDOW (2018)
Its effectiveness at engineering an unsettling tone enriches the experience as emotionally intriguing entertainment.
THE INVOKING 5: PHANTOMS (2018)
As a patchwork anthology, “The Invoking: Phantoms” is decidedly average. But examine each piece individually and sincere effort is easier to appreciate.
ELVES (2018)
THE FARM (2018)
Take your pick of any adjective starting with “un” for an accurate description of the movie’s thoroughly hollow thrill factor.
14 CAMERAS (2018)
With an improvisational attitude contributing to its nonsensical structure, “14 Cameras” tries squeezing blood from a setup that already turned to stone.
MRS. CLAUS (2018)
‘Twas the night before Christmas, and what should I watch? A slasher once known as “Stirring,” now named “Mrs. Claus.”
LASSO (2018)
“Lasso” isn’t merely bizarre. It’s batty in weird ways that make the movie faintly interesting only as a clumsy curiosity.
THE UNTHINKABLE (2018 - Swedish)
“The Unthinkable” left me absolutely awestruck with every gut-wrenching emotion and incredible image vividly painted onscreen.
DEATH HOUSE (2017)
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 (2018)
“Krampus Origins” continues the seasonal tradition of putting another loosely Krampus-related lump of coal in indie horror’s stocking.
TERRIFIED (2017 - Spanish)
“Terrified” simply charges in and goes straight to work with a lean and mean approach to classic paranormal activity chills.
WELCOME TO MERCY (2018)
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.
POSSUM (2018)
An arthouse skin applied over upsetting images and ideas brews a niche tea poised to burn some tongues while pleasing other palates.
AMERICAN NIGHTMARES (2018)
“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 (2018)
“Suspiria” emerges as the absolute best kind of remake in that it functions as a complementary companion, not a supplanting surrogate.
CREEPSHOW (1982)
“Creepshow” is the closest any motion picture has ever come to accurately capturing a comic book in feature film form.
OPEN 24 HOURS (2018)
If it starred a couple of moonlighting WB flavors of the season, and maybe threw in a Creed single, the film would have its own Scream Factory Collector’s Edition by now.
What if the overdone horror trope of a child’s imaginary friend turning out to be an evil entity was needlessly stretched into a 100-minute feature?