Mirroring the rashness of Leah’s misguided motivations, “Pyewacket” ultimately feels important while in motion, but much less thought through once level heads prevail.
UNFRIENDED: DARK WEB (2018)
“Unfriended: Dark Web” can be legitimately suspenseful when you work past how complicatedly ludicrous it becomes.
HEREDITARY (2018)
Like it, loathe it, or fall anywhere in between, you’re likely to find its macabre mood lingering whether or not you personally wish to pick up what it puts down.
A QUIET PLACE (2018)
“A Quiet Place’s” uncomplicated premise unshackles it to impress as a smartly crafted crowd-pleaser packed with terrifically terrifying thrills.
TERRIFIER (2017)
You’d better be buttoned up specifically for straight slasher movie slaughter, because the movie doesn’t have any more significant substance on hand.
APARTMENT 212 (2017)
While the subject of Jennifer getting her groove back remains strongly scripted, the film’s final third bobbles how to handle the creature feature element.
CHILDREN OF THE CORN: RUNAWAY (2018)
It remains so corner cuttingly choppy that its two years spent on a shelf could have been extended indefinitely without genre entertainment missing a beat.
RAVENOUS (LES AFFAMES) (2017 - French)
What’s refreshing about the film’s somber journey is how its illustration of post-apocalyptic despair never reaches “The Walking Dead” levels of hopeless nihilism.
THEY REMAIN (2018)
HELL'S KITTY (2018)
It's a toss up if Dale Midkiff is even the genre celebrity who comes out looking the worst in a movie this big of a mess.
FLAY (2017)
There is no objectively ignoring the notion that “Flay” gives off the unflattering air of an amateur cheapie.
VERONICA (2017 - Spanish)
Shaped a lot like a James Wan film, except slower and with a slimmer story, “Veronica” induces unease using subtly suggestive visual storytelling.
MOHAWK (2017)
"Mohawk" drives drama by paralleling a contemporary social climate with challenging commentary on culture conflicts.
MUTE (2018)
When you stop staring at its richly detailed design, you’re forced to realize you’re stuck in a snail-paced gumshoe mystery that isn’t exceptionally engaging.
ZOMBIOLOGY: ENJOY YOURSELF TONIGHT (2017 - Chinese)
Its middle ground of bittersweet family melodrama mixed with zany zombie action makes for a film whose fun comes from unusually entertaining eccentricity.
THE CURED (2017)
Like every good zombie story, “The Cured” understands that substance comes from commentary, not from carnage.
LOOKING GLASS (2018)
This is purely a filler film to make mortgage payments while everyone involved waits between better movies.
THE STRANGERS (2008)
It is simply the standard by which all home invasion films must be measured in terms of resonant sensation and imagination infection.
LIVING AMONG US (2018)
“What We Do in the Shadows” features charismatic characters, biting dialogue, and appealing entertainment value while “Living Among Us” includes none of those things.
HELLRAISER: JUDGMENT (2018)
Given the violently fluctuating quality levels of the series to date, I’m not sure what the standards even are for grading a “Hellraiser” movie anymore.
There's nothing intriguing about watching Eric track down and slaughter stuntmen instead of exacting a deserving vendetta against distinct villains.