Eli Roth’s latest horror feature serves up outrageous practical gore with all the gleeful excess of Herschell Gordon Lewis, but about the same amount of filmmaking finesse as the godfather of splatter cinema.
This frustratingly blunt and toothless satire is glossy, occasionally amusing, but ultimately unable to bridge the gender gap.
There’s a neat mummy monster briefly glimpsed in the first five minutes of this movie, but the writer-director abandons this initial promise for some far more generic possession movie tropes.
This gormless sequel essentially the same movie as the first Ready or Not, but a whole lot less satisfying.
The shockingly amateurish presentation and laughably contrived script serve as a throwback to slasher films from the 1980s in all the worst ways.
The premise instantly draws us in, and solid execution maintains our interest for the majority of the movie, but a third act implosion sinks the whole enterprise.
Like the original film, this Blumhouse sequel delivers some effective scares but also drones on endlessly with exposition disguised as fan service.
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Spielberg displays a strong command of visual storytelling in her feature debut, but the narrative starts off on shaky ground and takes its time going nowhere.
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Another group of teenagers pays the price for making a bad decision following a hit-and-run accident in I Know What You Did Last Summer, opening
The Ex Machina-meets-Child’s Play sci-fi-horror trappings from the original film have been jettisoned for the full Terminator 2: Judgment Day treatment.
Despite an innovative premise, solid effects work, and standout scenes of terror, this one devolves into an unusually tedious sit that is unlikely to satisfy fans of the game.
This collaboration between Paul W.S. Anderson and George R.R. Martin is more Resident Evil than Game of Thrones, but holds a certain trashy appeal.
This largely by-the-numbers action thriller boasts a reasonably compelling story and some fun performances, but shoddy visual effects sink it.
Some campy practical creature effects and efficient low-budget filmmaking from director Stephen C. Miller keep Werewolves from being too much of a drag.
A knowing sense of humor and some appealing performances can’t save the inherent cynicism in this would-be holiday blockbuster
This Venom movie has some interesting things going on thematically, but fizzles out during an overblown anti-climax destined to please no one.
This low-budget UK indie ultimately fails to satisfy as either a traditional action movie or as deeper rumination on Stoic philosophy.
This fourth Hellboy movie adapts one of Mike Mignola’s most popular storylines, but lacks the budget and creativity of the previous films in the franchise.
A gruff NASA launch commander and sprightly new public relations director butt heads in this loony new film that plays into popular conspiracy theories.
Oscar winners Cate Blanchett and Jamie Lee Curtis fail to bring much life to this slickly-produced but dreadfully dull adaptation of the video game series.
Despite an electric performance from Margaret Qualley, writer-director Ethan Coen’s solo feature is only a mildly amusing trifle.
Despite a compelling turn from DeWanda Wise, this Blumhouse horror film fails to deliver the scares, though one has to admire its creativity.