Category: REVIEWS

August Underground's Mordum, 2003 – ★

This felt like a complete waste of time, offering no redeeming qualities whatsoever. It’s baffling that there was enough interest to spawn a three installments, given how unwatchable this one ended up being.

Black Eyed Susan, 2024 – ★★★

The story does a great job of drawing you in, holding your attention through most of the runtime. However, it abruptly ends just as things get truly fascinating, leaving me wanting more.

Black Christmas, 2006 – ★★

It leans heavily on the mid-2000s horror remake formula, offering few real surprises or innovation. Despite a few decent scenes, it never really sets itself apart from others in that era.

Black Christmas, 2019 – ★

It’s painfully obvious they banked on name recognition to lure in unsuspecting viewers. The end result is a tedious experience that fails to justify its own existence.

A Wounded Fawn, 2022 – ★★

The moody, lo-fi cinematography and unsettling visuals create an atmosphere that kept me on edge. However, the narrative could have used more depth to fully capitalize on its eerie setup.

Holiday Hell, 2019 – ★★

For an anthology, it doesn’t break new ground, but it’s far from the worst I’ve encountered. There’s enough variety in the segments to keep things watchable, even if it never quite excels.

Anora, 2024 – ★★★★

Sean Baker’s latest effort feels like his most accomplished work to date, showcasing a level of craft and confidence that’s truly impressive. The uniformly strong performances lead to a devastating finale that’s hard to shake long after it’s over.

Body Count, 1986 – ★★

I’m glad I gave it a chance, but it doesn’t offer much to even the most dedicated horror enthusiast. The overall lack of standout moments makes it hard to recommend beyond curiosity’s sake.

Heretic, 2024 – ★★★

The return of Hugh Grant adds a welcome, familiar charm to the opening chapters, making it easy to get invested early on. Although the basement sequence fails to deliver the fantastical finale I hoped for, the overall experience remains excellent.

Domino, 2005 – ★★★

Strong performances keep the momentum going, adding depth to characters that could have easily felt hollow. However, the overall narrative fails to fully deliver, leaving the experience feeling somewhat incomplete.

Déjà Vu, 2006 – ★★

The plot follows a predictable path, offering few genuine surprises. Despite this familiarity, the energetic pacing and a commanding central performance by Washington keep it genuinely entertaining.

Spy Game, 2001 – ★★★

The story’s layered narrative and brisk pacing ensure your attention never wanders. Each interaction between the characters crackles with tension, illuminating the morally gray corners of international espionage.

Man on Fire, 2004 – ★★★

The emotional core of this story lies in the bond between a weary protector and the innocent life he’s sworn to save. Its frenetic visuals and unrelenting tension underscore the depths of vengeance and loyalty, leaving a lasting impression long after it ends.