Strong visuals alone can’t save The Lodgers from being a dreadfully average and dull horror experience however, and although my ears perk up anytime I hear about a new entry into this subgenre that sees far too few contemporary releases, this is one I have suggest viewers pass on.
Not since the days of David Cronenberg has the classical approximation of love as being the act of “giving a part of one's self to another” ever been more grotesquely literal than in Xander's Robin's destitute romance Are We Not Cats.
Existing on a precipice between its police-procedural grittiness and the fantastical digressions of its local mythology, Interchange is an anomaly with a failure to delineate these worlds from one another or to give exposition to their coexistence, making its investigative trip to mystic territory obtuse at best.
Sophie Brooks’ script is snappy and fun, injecting a smart indie vibe into what would otherwise be a by-the-numbers rom-com, however with all those trappings present, it’s easy to see where all this is going to go.
Night of the Living Dead defined what the zombie film would become and is easily one of the most influential pieces of cinema in horror, but more than that, it’s just a fantastic movie that’s worth adding to your collection.
The movie is filled with with dry humor and awkward encounters, and they prove to be amusing in the abstract, although we can’t help but feel that this levity is used as an excuse to avoid the plot’s more complex implications.
Victor Crowley, the fourth film in the Hatchet saga and named for its hulking deformed slayer, continues the concept established in the first three movies but on a much smaller scale. The tone is cornier, and there are fewer of the Crowley kills that made the series stand out.