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.
Multi-Oscar-winning director Brad Bird once said that, “Animation is about creating the illusion of life, and you can't create it if you don't have one.” It’s a simple observation that is often taken for granted, one that nonetheless highlights the detectable traces of life found in every pen stroke, clay imprint and line of code collected together to produce this year’s nominees for the Animated Short Films Oscar.
If you’re in the market for a more obscure ’80s slasher, featuring a creepy killer, ridiculous dialogue and predictably silly ending, Edge of the Axe is worth a look and is certainly a step above the rest of the derivative genre titles we saw in the waning moments of the decade.
Although it nearly doesn’t stick the landing, with things culminating abruptly and ending with less gravitas than the build-up had me anticipating, Sanzaru remains a thoughtfully crafted story that combines dread with melodrama to deliver a creepy, nuanced horror tale.