Propelled by the performance of Pete Davidson in his first starring role, the film feels a bit paint by numbers at times, but the solid script and even pace keep it from toppling over under the weight of its own formula.
Of all the Japanese horror titles released after the explosive success of The Ring, none was as derivative as the One Missed Call series, but at least in the case of Takashi Miike’s first entry, there’s a lot more substance here than
The premise alone for Extra Ordinary, a film about a timid driving instructor whose ability to communicate with the dead puts her in a position to save the life of a teenager who is about to be sacrificed by a one-hit-wonder musician in order to resurrect his career, should be enough to warrant the price of admission.
This is a unique take on the Invisible Man narrative and has some really creative turns, and as a massive fan of this series, I was beyond excited to see Whannell deliver something terrifying, original, and easily one of the best horror experiences of the year.
Matthew Pope’s feature debut, Blood On Her Name, is a well crafted, Southern-fried, neo-noir with a heavy reliance on tension, and while this method doesn’t always quite work, audiences are still in store for a satisfying crime thriller.
It was only a few months ago that we were talking about Joe Begos’ last horror feature, Bliss, a no-holds-barred splatterfest, and now here we are again with VFW, another throwback genre picture guaranteed to satiate those gorehounds out there hungering for
After Midnight is an effective genre blend that will no doubt divide audiences with its focus on the relationship drama over the horror elements, but despite the overabundant hipster vibes and slow pacing, it’s an intriguing film with a few surprises and a handful of solid performances that ultimately delivers a satisfying conclusion.