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RUPTURE (2016)

By the time Renee uncovers the final revelation, attention spans are so worn down that you only care because it means the movie can finally wrap up.

April 26, 2017 by Ian Sedensky.
  • April 26, 2017
  • Ian Sedensky
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TILT (2017)

“Tilt” ties a knot of haunting tension in your gut and holds it tightly in place through an inescapable sense of disturbing dread.

April 25, 2017 by Ian Sedensky.
  • April 25, 2017
  • Ian Sedensky
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THE ENDLESS (2017)

If you connected with Benson and Moorhead’s "Resolution" and/or "Spring," then "The Endless" will stoke all the right fires.

April 24, 2017 by Ian Sedensky.
  • April 24, 2017
  • Ian Sedensky
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WE ARE THE FLESH (2016 - Spanish)

I don’t know what people are seeing in supposed subtext. The man who made the movie doesn’t appear to know either.

April 21, 2017 by Ian Sedensky.
  • April 21, 2017
  • Ian Sedensky
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A GIRL WALKS HOME ALONE AT NIGHT (2014 - Farsi)

“A Girl Walks Home Alone at Night” bathes in a pop art lethargy that makes the maudlin melancholy of “Only Lovers Left Alive” look blisteringly kinetic.

April 20, 2017 by Ian Sedensky.
  • April 20, 2017
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TERROR 5 (2016 - Spanish)

“Terror 5” has several bright spots of unflinching frights that work well in their sudden outbursts of brutality.

April 19, 2017 by Ian Sedensky.
  • April 19, 2017
  • Ian Sedensky
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THE DARK TAPES (2017)

The script gets carried away with excitedly explaining everything down to details that aren’t pertinent to any premise.

April 18, 2017 by Ian Sedensky.
  • April 18, 2017
  • Ian Sedensky
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TALES FROM THE HOOD (1995)

The scariest thing about “Tales from the Hood” is that despite being two decades removed from its 1995 theatrical debut, its subtext is as relevant now as it was then.

April 17, 2017 by Ian Sedensky.
  • April 17, 2017
  • Ian Sedensky
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HERE ALONE (2016)

The slow smolder of its down-to-earth melodrama puts the film in an uphill battle where it underperforms against more energetic peers.

April 14, 2017 by Ian Sedensky.
  • April 14, 2017
  • Ian Sedensky
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MEATBALL MACHINE KODOKU (2017 - Japanese)

Damn near indecipherable from beginning to end, the movie celebrates manic madness to the nth degree, precisely as intended.

April 13, 2017 by Ian Sedensky.
  • April 13, 2017
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PIG (2010)

“Pig” is a rambling exercise in senseless shock value whose predetermined purpose is to be a meaningless movie.

April 12, 2017 by Ian Sedensky.
  • April 12, 2017
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THE BYE BYE MAN (2017)

For a PG-13 thriller left to freeze on a January release doorstep, “The Bye Bye Man” is a perfectly passable popcorn production.

April 11, 2017 by Ian Sedensky.
  • April 11, 2017
  • Ian Sedensky
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QUARRIES (2016)

Put up against similar thrillers with less simple setups, “Quarries” is missing a hard hook to distinguish itself in the survivalist stalker subgenre.

April 10, 2017 by Ian Sedensky.
  • April 10, 2017
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THE TRANSFIGURATION (2016)

“The Transfiguration” is an often quiet, often bleak, introspective examination of overcoming hopelessness through humanity.

April 7, 2017 by Ian Sedensky.
  • April 7, 2017
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BETHANY (2017)

“Bethany” is simply so bland about everything it rehashes that its lethargic lifeline translates into boredom for the viewer.

April 6, 2017 by Ian Sedensky.
  • April 6, 2017
  • Ian Sedensky
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TEEN TITANS: THE JUDAS CONTRACT (2017)

“Teen Titans: The Judas Contract” is a solidly entertaining animated adventure mixing topical teen melodrama into its action.

April 5, 2017 by Ian Sedensky.
  • April 5, 2017
  • Ian Sedensky
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LIFE (2017)

Even though cinematic competency disqualifies “Life” from being “bad,” its formulaic flatness assures indifference as a likely audience response.

April 4, 2017 by Ian Sedensky.
  • April 4, 2017
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THE VOID (2016)

The film’s darkly demonic, understated intensity makes it the best John Carpenter movie not actually made by John Carpenter.

April 3, 2017 by Ian Sedensky.
  • April 3, 2017
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68 KILL (2017)

“68 Kill” gets away with its gobs of grindhouse grain by slathering scenery in dark humor and switching stereotypes regarding which sex wields the power.

March 31, 2017 by Ian Sedensky.
  • March 31, 2017
  • Ian Sedensky
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THE HERETICS (2017)

Inconsistencies are tied together by evilly eerie cinematography and well-designed sound using style to counteract coming up short on ambition.

March 30, 2017 by Ian Sedensky.
  • March 30, 2017
  • Ian Sedensky
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CULTURE CRYPT

The best resource for genre movie reviews and horror pop culture.

Culture Crypt is the most reliable website for genre movie reviews and the best in popular culture, specializing in independent horror film entertainment.

  • Main Page
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    • Movie Reviews A-F
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LATEST MOVIE REVIEW

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THE CROW (2024)
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There's nothing intriguing about watching Eric track down and slaughter stuntmen instead of exacting a deserving vendetta against distinct villains.

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SINNERS (2025)
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No matter where a personal opinion lands, you still have to tip your cap to an imaginative vision that stays true to pursuing its own path.

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“Whatever, it’s fine” doesn’t sound like a ringing endorsement, yet that’s approximately where “Hell of a Summer” lands in ultimate entertainment value.

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