"Slither” comes about as close as any contemporary genre film can to capturing the feel of a 1950s Saturday matinee monster movie.
"Slither” comes about as close as any contemporary genre film can to capturing the feel of a 1950s Saturday matinee monster movie.
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Without any interesting arcs, side plots, or even a main plot to go along with the gore, “Ice Cream Man” devolves into a lot of meaningless mayhem.
Three out of four stars is a solid score for the high mark “Evil Dead Burn” hits on the gruesomeness strength-o-meter hammered with all the movie’s might.
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.
This supposedly preplanned trilogy became a tangled, bloated, inconsistent blob of inconsequential characters, dead ends, and ludicrously lame lore.
“The End of Oak Street” pays homage to an era when Hollywood wasn’t afraid to make big movies with cyborg cops, intergalactic soldiers, and colossal creatures.