An objective perspective not drunk on cult Kool-Aid will tell you it’s a tepid, two-hour trip into exhausting dreariness.
MORTAL KOMBAT II (2026)
The good news for fans of 2021’s “Mortal Kombat” is the same as the bad news for anyone who didn’t care for that first film: “Mortal Kombat II” is more of the same.
HOKUM (2026)
Damian McCarthy’s third feature “Hokum” shows the filmmaker fine-tuning his personal formula for disturbing descents into darkness even further.
BUFFET INFINITY (2025)
The experience feels a lot like flipping through late-night TV at a time when loud guys in cowboy hats and blinking 1-800 numbers dominated ad breaks.
LEE CRONIN'S THE MUMMY (2026)
As a mummy movie, “Lee Cronin’s The Mummy” is decidedly meh. As a demonic possession movie, “Lee Cronin’s The Mummy” is still mostly mediocre.
FACES OF DEATH (2026)
Creepy streaks keep the film’s head above water as straightforward horror regardless if the underlying context is real or fake.
SELF-HELP (2025)
It could scratch a small itch for competent cult-related chills whose low stakes don’t demand a high investment of attention.
EXIT 8 (2025 - Japanese)
Between the interactive experience and the passive one, the most immersive, meaningful, and memorable of the two is the movie.
THEY WILL KILL YOU (2026)
“They Will Kill You” plays less like a fully-fleshed feature and more like a demo reel for staging stunts and coming up with creative camera movements.
IMMORTAL COMBAT (2026)
A group of cosplayers are summoned to a hillside in Calabasas, California, to see who is the most passable LARPer, each with weird wigs and Party City props.
READY OR NOT 2: HERE I COME (2026)
Maybe more eyes will notice how short the legs are on the concept of a resilient heroine unleashing whoop-ass on empty upper-class stereotypes.
UNDERTONE (2025)
“Undertone’s” atypical texture as audio-first horror that’s compact and patient makes it a divisive film where different viewers will have different experiences.
THRASH (2026)
How will viewers remember the movie? There’s so little of note in “Thrash,” viewers may not remember it at all.
PSYCHO KILLER (2026)
“Psycho Killer” is a generic copycat operating on autopilot from its opening titles all the way through to end credits.
DOLLY (2025)
“Dolly” never sets out to be more than a sleaze-soaked shocker in the first place. With that as its sole goal, the movie has merit.
JIMMY AND STIGGS (2024)
It's reductive, yet not inaccurate, to describe the movie as two grown men excessively arguing in between bouts of wrestling with alien puppets.
THE MORTUARY ASSISTANT (2026)
It’s a low-risk, low-reward course in Horror 101, as taught by a student aide at a community college instead of by a tenured professor at a prestigious university.
SEND HELP (2026)
“Send Help” is a movie meant to be enjoyed for its wildish ride, and there’s no driver better suited to be behind this particular wheel than Sam Raimi.
SCURRY (2024)
“Scurry’s” experiment to disguise a bland B-movie as a one-take thriller bursts every flask in the lab, and there’s no buoy to save viewers from drowning in the drabness.
BODYCAM (2025)
Even with deja vu ringing bells, it’s easy for a horror-minded head to get into the movie’s groove due to its no muss, no fuss efficiency.
An objective perspective not drunk on cult Kool-Aid will tell you it’s a tepid, two-hour trip into exhausting dreariness.