There’s nothing overwhelmingly “wrong” with the movie. There’s nothing overwhelmingly original about it either.
THE RITUAL (2025)
Stop yourself before you’re tempted to watch “The Ritual,” an interminably stiff and entirely derivative bore.
FINAL DESTINATION: BLOODLINES (2025)
Like how audiences snicker at the ludicrous logic of an atomic monster movie, “Final Destination: Bloodlines” is wild in the best way possible.
SPEAK NO EVIL (2024)
The 2022 film offers a fuller, more fear-filled and eerily lingering experience than this made-for-the-masses 2024 incarnation ever does.
FRANKIE FREAKO (2024)
A charming chunk of cheddar that taps into the warm, fuzzy, and fugly feelings that make many of us nostalgic for the crude creature features of our youth.
CLOWN IN A CORNFIELD (2025)
Little snickers are few and far between, so there’s never an overwhelming sense that the movie is aware of how cliched everything is.
PREDATOR: KILLER OF KILLERS (2025)
Amid all the swordplay, tracer fire, and bloodshed, it’s easy to lose sight of how much authentic motivation drives the stakes beyond simple survival.
SINNERS (2025)
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.
UNTIL DAWN (2025)
“Until Dawn” manifests a mishmash of hairless wendigos, spontaneous combustion, and a witch watching television, but it’s all cliched clutter.
FEAR STREET: PROM QUEEN (2025)
It seems silly for older eyes to dock points for “Fear Street: Prom Queen” being the flighty fright flick its DNA genetically engineers it to be.
ROSARIO (2025)
For veteran viewers, if not for the film’s makers, “Rosario” doesn’t include many memorable moments worthy of earning much enthusiasm.
IN THE LOST LANDS (2025)
Putting everyone’s pedigrees together, it’s amusing, strange, or sad (choose your own term) to see these names slumming it in a B-movie filmed in front of a green screen in Poland.
ABRUPTIO (2023)
It’s darkly disturbing while being entertaining in a wild way that almost makes you feel conflicted for being amused.
SHIVER ME TIMBERS
“Shiver Me Timbers” is another slapdash slasher where the madman murdering nondescript nobodies is supposedly some twisted interpretation of Popeye.
SCREAMBOAT (2025)
If you only watch one public domain slasher based on an expired copyright, and no one needs to watch more than one anyone, “Screamboat” really is the best option.
ASH (2025)
“Ash” shows more promise for Flying Lotus’s filmmaking future rather than impressing as an early career highlight to be repeatedly revisited.
DROP (2025)
The tagline says, “Everyone’s a suspect,” but that’s not true. The primary suspect can only be the one actor most people have previously heard of.
LOCKED (2025)
“Locked’s” reticence to hit hard with a meaningful message, unsympathetic characters, and thinly stretched thrills destine the movie for mediocrity.
HELL OF A SUMMER (2023)
“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.
IT FEEDS (2025)
“It Feeds” does just enough that’s different to become an example of how indie horror can be easily approachable without having to feel flat.
There’s nothing overwhelmingly “wrong” with the movie. There’s nothing overwhelmingly original about it either.