LATEST STUFF

Nightbitch, 2024 – ★★★

Amy Adams gives it her all, but the thin story leaves her howling into the void. Striking ideas, just not enough substance.

Werewolves, 2024 – ★★★★

Impressively gnarly effects and thrilling set pieces make this a beast worth hunting down. Old-school monster mayhem done right.

Under Paris, 2024 – ★★★

Absurd but entertaining, it rides its ridiculous premise with confidence and delivers some solid thrills along the way.

Gladiator II, 2024 – ★★★

This sequel manages to deliver a serviceable follow-up to a classic, even though it can’t fully escape the original’s shadow. Unfortunately, Mescal’s lack of onscreen charisma makes it hard to believe he could rally anyone to his cause.

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.

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.

Landmine Goes Click, 2015 – ★★★

The initial setup feels fairly typical, giving little hint of what’s to come. By the time the wild third act arrives, it’s so unexpected that I couldn’t help but enjoy every moment.

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.

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.

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.