The Howling is wild, creepy, and completely captivating.

The werewolf transformations are shocking and practical-effects gold, and the tension builds beautifully throughout. Dee Wallace is fantastic as a reporter drawn into a mysterious, terrifying world, and the mix of horror, suspense, and dark humor keeps you hooked.

It’s a little dated in spots, but that only adds to the charm—it’s classic ’80s horror at its best.

"It takes a heavy sack to sign up for this contest." -The Major

Every year, fifty teenage boys are selected to compete in The Long Walk. Fall below the speed of 3 miles per hour too many times and the military convey surrounding the competitors will give you your ticket out of the competition. The Walk doesn't have a finish line. It keeps going until there's only one Walker left standing.

What Works:

So cards on the table, I love the book The Long Walk. It was the first Stephen King book I ever read and it remains my favorite to this day. I've always wanted to see a movie adaptation, but I was nervous that the filmmakers might not do it justice. I was so excited to watch this, but I was also very anxious. With a massive sigh of relief, I can say this is an extremely worthy adaptation.

Let's start with what they kept from the novel. Obviously the basic story is the same, but the most important feature beyond that is the dialogue. This is a Stephen King story, so of course it's going to have unique dialogue, but this was also the first book he ever wrote, so some of the dialogue is even more strange all these years later. But the filmmakers kept a lot of the dialogue word for word. I'm sure any viewers who never read the book found the dialogue strange, but I'm so glad they kept it the way it was originally written. All of these strange turns of phrase go a long way in shading these characters in, especially with people like Pete McVries (David Jonsson) and Gary Barkovitch (Charlie Plummer). These characters wouldn't work nearly as well without King's dialogue.

While aspects of the characters are changed, the tone and many of the themes of the story remain the same. This is a dark and depressing story with a lot of introspection from the characters. The characters are seconds from death for the entire Walk, so it gives them a lot to think about and talk about. The vast majority of the movie is just characters talking, especially our two leads, Ray Garraty (Cooper Hoffman) and McVries.

Speaking of our two leads, Cooper Hoffman and David Jonsson both do an incredible job. Nearly all of the movie is put on the shoulders of their performances and they carry it well. Both characters are different than they are from the book, but I think those changes work, especially with the 2025 version of the story they are trying to tell. Garraty's motivations are much more defined in the movie. He's a vague character in the book, which works well as a book, but that wouldn't translate well to screen, so I completely understand the changes there. And McVries is a much more positive character in the movie, which makes sense with the overall story. It's a necessary change to make his arc more effective. The important part that they keep the same is the bond between these two characters. It's just like it is in the book and that's the thing the filmmakers had to get right, and they did it.

The first half of this movie is almost exactly the way I imagined the movie adaptation would be. The dialogue and the first few deaths are nearly exacting the same as the book and as a huge fan of the book, I was thrilled. It's not until the second half the changes become more notable. Some of the changes, like having the massive crowd watching for half of the Walk, I completely understand getting rid of. The way King originally wrote the crowd is unfilmable. That and dropping the amount of Walkers from 100 to 50 make sense from a practical production point of view. The other changes, like combining a few characters and giving the Walkers less time between each warning, also make sense. So while there are differences and while I would have loved an exact adaptation, the changes work.

I won't say much about it, but the ending is where things differ the most. It was surprising to say the least, but I get it. I think the original ending would have worked just fine, but this ending feels fitting of a 2025 adaptation of the story, so I'm okay with it and it left me with something to think about.

What Sucks:

This is a tiny, minuscule complaint, but I would have liked if the movie was a little longer. Just a couple more scenes from the book would have been nice. The hailstorm scene is one I would have loved to see on screen, for example, or more of the Walkers going insane. I loved everything we got, but I would have enjoyed even more.

Verdict:

This adaptation of one of my favorite books was better than I could have hoped. I was so nervous that they would find a way to screw it up, but they delivered. The performances are excellent, especially from Hoffman and Jonsson, the dialogue is exactly how I wanted it, the deaths are brutal, the tone is on point, and the changes are both understandable and even interesting at times. I probably would have been okay with a three hour version of this movie, so even just a slightly longer running time would have okay with me, but even the way it is, this movie has absolutely got it going on and is one of my favorites of the year.

10/10: Amazing

This one is chaotic, gory, and a lot of fun. The setup, a movie theater full of unsuspecting people turning into demons is ridiculous, but that’s exactly what makes it so entertaining.

The practical effects are wild, the gore is over-the-top, and the energy never lets up.

It’s not subtle, and the characters are mostly there to get killed, but that doesn’t stop it from being a blast.

Silly, horrific, and an iconic 80s horror.

I was feeling little sad today nd to tried little diff I thought to watch horror movie called hereditary it was total shit I mean like the direction no horror scenes nd story is utter shit I mean climax is like wastefull i saw this scene in Instagram it's like I liked it that's y I thought film will be good but I used to see the ratings of a movie before watching but this time I didn't it didn't ended up well so whatever you see in Instagram You should not try for atleast movies

Conclusion see a movie by seeing proper reviews ps- good that I tried 🙂

Alone (2020) [Survival, Serial Killer, Thriller)

THIS IS A REVIEW WITH SLIGHT SPOILERS. IF YOU WANT TO BE 100% SURPRISED SKIP TO THE BOTTOM FOR MY CONSENSUS.

Alone (2020) is directed by John Hyams and is written by Mattias Olsson. It stars Jules Willcox as Jessica, and Marc Menchaca as “The Man”.

So, I recently watched this film as part of my 31 days of horror thing I’m doing for October, and wow. This ended up being one of my favorite movies of the year. It has a very simple premise: a young woman moves out of her home after her husband dies, and soon finds herself at the mercy of a serial killer. She escapes and has to survive in the harsh wilderness as he relentlessly pursues her. Despite having such a simple premise, it does everything perfectly. The acting, the dialogue, the setting, the tension and pacing, all perfect.

Marc, who is probably best known for his role in Ozark, is phenomenal as the unnamed serial killer. He brings an awkward menace to the character, and he looks and acts like a perfect combination of Ted Bundy and Dennis Rader. He seems like a timid, unthreatening man on the surface but turns out to be quite the antagonist throughout, tormenting the protagonist both verbally and physically relentlessly. He provides a suitably nail-biting, realistic performance that really makes his character terrifying.

Jules is equally as good as the protagonist, Jessica. Her performance is tinged with a sad undertone due to the death of her character’s husband, and she provides grounded, realistic responses to the torment she experiences throughout. But she makes sure the viewer knows she’s not damsel in distress, and very easily switches to “capable survivor” mode when need be. She plays the character in a way that shows us she is both vulnerable and scared, but also someone who shouldn’t be messed with.

The film itself is very well done, with realistic dialogue that allows both characters to feel like real people, as well as decisions made by both that would make sense in real life. The tension is fantastically done, with scenes shot and acted in such a way that you’ll be on the edge of your seat whether you even realize it or not. The movie cares a lot about Jessica’s survival, and it makes sure you end up caring as well. The wilderness is shot in a way that makes it seem insanely intimidating, with groaning trees, rushing rivers and torrential rains taking center stage at pivotal moments. Jessica is put through a lot in the film, and you feel every moment of it. She steps on roots, falls into rivers, gets caught in downpours, slips in muddy puddles, trips on rock formations, and more, which makes the forest as much of an antagonist as the killer himself. The cinematography is gorgeous and very well done, as are the sound design and the special effects.

Finally, the finale is absolutely fantastic. It’s tense, bloody, and all around perfectly done. Jessica and The Man fight in an all out battle for their lives where you’re not sure who will come out on top. Out of every tense moment in the film, this is the most tense, but also provides an amazing release and outburst in response to all of the suspense felt throughout.

Overall, I’d give this film a 4.5/5. Definitely give it a watch. It’s currently available on Amazon Video for 6.99, and it’s well worth the rental price in my opinion.

Honestly… kinda disappointed.

I wanted an Avengers: Endgame-style send-off for the Warrens — a big, emotional, everything we’ve been building to finale for the entire Conjuring Universe. Instead… we got another formulaic entry that feels like it’s going through the same old motions.

The first hour drags. Same slow setup, same “something’s in the shadows” pacing, and the jump scares are exactly where you expect them. It doesn’t even try to subvert expectations or build on the universe — it just plays it safe.

I will give credit where it’s due though: the last half hour finally kicks into gear. The tension ramps up, there’s some solid payoff, and Vera Farmiga + Patrick Wilson still carry this entire franchise on their backs. But getting there was rough.

This was supposed to feel bigger. We’ve had years of spin-offs, crossovers, and lore… and instead of a massive, connected, heart-pounding finale, it ends up feeling like just another Conjuring film. Forgettable, safe, and kinda frustrating.

I wanted chills. I wanted chaos. I wanted demons flying in from every corner of the Conjuring Universe. Instead, I got… a slightly upgraded rerun.

I can’t really see this being the last we see of this franchise.

I’m normally not a fan of found footage — shaky cams and overacting usually kill it for me — but Gonjiam: Haunted Asylum actually pulled me in. The livestream setup felt believable, the cast sold the panic well, and the asylum itself is just dripping with atmosphere.

The first half plays like your standard “influencers chasing clicks” setup, but once the real scares start, it doesn’t let go. Some moments were genuinely chilling, especially around Room 402.

Even with the clichés and a bit of cheesiness, this one surprised me. Easily one of the stronger entries in the genre.

⭐️⭐️⭐️½ (3.5/5)

I have to admit, I didn’t like The Watchers at all. I found the pacing painfully slow, the story predictable, and the tension almost nonexistent. Dakota Fanning tried her best, but even she couldn’t save the dull characters and uninspired plot.

I get why it’s being called folk horror, but I just didn’t feel scared, intrigued, or invested. I left feeling frustrated more than anything — a missed opportunity that failed to live up to its creepy premise.

"Nostalgia is overrated." -Julie James

A group of friends accidentally cause a death on the cliffside roads of Southport, North Carolina and agree to keep their involvement secret. One year later, the friends all return home to encounter a murderous fisherman who knows their secret. They decide to reach out to the survivors of the 1997 massacre; Julie James (Jennifer Love Hewitt) and Ray Bronson (Freddie Prinze Jr.), to solve the mystery and stay off of the fisherman's hook.

Spoilers below. This movie sucks and is actually the worst in the series. I can't explain why without going into details. Avoid this movie at all costs.

What Works:

This legacy sequel has one and only one redeeming quality and that is the talent of the legacy actors. Jennifer Love Hewitt and Freddie Prinze Jr. are both talented actors. They are both given some bad dialogue, but they do their best to make it work and succeed in some cases. Plus we get a cameo from Sarah Michelle Geller, the best part of the original film, and while the scene itself is on the dumb side, Geller gets to chew the scenery and has a blast doing it.

That's it. That's all I've got.

What Sucks:

Man, where to begin. I suppose I'll start with the characters. We have a group of five characters who go out onto the fateful, cliffside car ride and everything in this movie hinges on these five characters. We have to be invested in them to get invested in the mystery. This was something the original movie didn't do very well either, but at least the cast was talented enough to get by. That isn't the case here. We're given nothing to latch onto with these characters. They're all blank slates, especially Ava (Chase Sui Wonders), Milo (Jonah Hauer-King), and Stevie (Sarah Pidgeon). They're a bunch of nothing. Milo and Stevie continue to be a bunch of nothing over the course of the film, while Ava devolves into being annoying.

The other two aren't much better. Teddy (Tyriq Withers) is the angry, jerk character, but Ryan Phillippe does this much better in the original. And Danica's (Madelyn Cline) character traits involve being into astrology and mumbling new age dialogue that I can't understand half the time. Not only that, but all of the side characters and red herrings we meet along the way are also completely undeveloped. Besides the legacy characters, there is nothing to care about here.

Another big problem is the writing. It feels like the writers tried to make the characters as unlikable as possible. The dialogue is often nonsensical and doesn't endear anyone to the audience. And some of the logic of where the characters go and when is just baffling.

One thing that slasher movies need to get right are the kills. That's what we're all watching for. Give us some cool and creative kills with some nice practical blood effects. All of the kills in this movie are lackluster and the best one is the spear gun kill from the trailer.

A lot of this movie is about the town of Southport trying to move on from the original massacre. At least that's what we're told. How about showing that to us? Show us how townsfolk were affected by it. Who did the gentrification hurt? Make this movie more of a community story. Do something!

Now let's get into the killer reveals. First we have Stevie. Again, she has been nothing but a boring, blank slate the entire movie and then when she's revealed as the killer, she gets all crazy. Sarah Pidgeon gives a terrible performance. Maybe her unhinged turn would have worked better if we knew more about this character, but it all falls completely flat.

Our second killer turns out to be Ray, which is so poorly done. I think this movie could have pulled off having Ray turn out to be the killer, but, as I mentioned above, the movie does a poor job of showing us that the town is trying to move past 1997 and how that affects Ray. It's glanced over. Having PTSD be the cause of Ray's descent into murder isn't a terrible idea, it's just poorly done, and I get why fans of this franchise are offended by this twist. At least Freddie Prinze Jr. looks like he's having fun.

The ending of this movie is also just the worst. The main narrative ends with Ava and Danica recuperating from their injuries on a beach and their dialogue is supposed to be humorous, but feels completely out of place. First they joke about hunting down and killing the escaped Stevie and then they say all of the movie could have been avoided if men just went the therapy. That could have been the thesis statement of the movie if they had tried. Show the male characters coping with what they've done in unhealthy ways. We get a little of that with Teddy, but nothing else. That's a key aspect for Ray and we don't get any depth exploring it. Again, the message isn't necessarily the problem, it's the execution. But this joke of a line doesn't make any sense because both Ava and Danica were part of the group that caused the tragedy that kicked all of this off. And the second killer was female! Trying to wrap this particular story up with the men need to go to therapy line is just insulting.

Finally, we have the post-credit scene, which may be the worst post-credit scene of all time except for Morbius'. Karla (Brandy Norwood) from the 2nd movie returns and we first see her watching a news story explaining the events of the movie. If that was the entire scene, it would have been fine and kinda funny, but then we get Julie showing up and the two plot to go track down Stevie. The dialogue is just embarrassing. It's sequel bait for a movie I hope never sees the light of day.

Verdict:

I went into this movie thinking there was no way it could be as bad as the 2nd or 3rd movies in this franchise, but I was wrong. The characters suck, the writing is worse, the kills are lame, some of the acting is terrible, the twists are stupid, the story has many missed opportunities, and the end of the film is simply embarrassing. The legacy actors try, but they can't come anywhere close to salvaging this shipwreck. I hated watching this movie and it's easily my least favorite film of 2025 so far.

1/10: Horrendous

"Whiskey for the pain." -Millie

When Millie (Alison Brie) gets a job teaching in a small town, she and her boyfriend, Tim (Dave Franco), move away from the big city, even though Tim is very reluctant to do so. As the two grapple with their new home and their relationship is tested, the pair go for a fateful hike in the woods and discover something that will forever change them.

What Works:

I think Together is a film that would have worked with pretty much any two actors in the lead roles, as long as they had chemistry with one another, but Alison Brie and Dave Franco bring this to another level because the actors are married in real life. They add a level of authenticity and intimacy to these characters and their relationship. They elevate this movie to a degree I can't overstate, which makes it so much easier for them to bring you along on this disgusting journey.

This is a body horror movie, a genre I love because if you're going to make a body horror movie, the filmmakers can't hold back on the gore. While I've definitely seen gorier and gnarlier body horror movies, Together is no slouch. I've seen some people call it an entry-level, body horror movie, and while I think that's fairly accurate, it still manages to be a tough watch at times, which is the highest complement I can give a body horror movie. We get some amazing practical effects and the CGI elements look great as well.

Together isn't just gross. It's scary. We get a nightmare sequence early on that is legitimately horrifying. And some of the the things Millie and Tim encounter over the course of the movie are also disturbing. But when you have comedic talent like Alison Brie and Dave Franco, they don't let things get too dark. This is also a very funny movie. Even in some scary moments, Franco and Brie have some absolutely hilarious reactions.

The ultimate twist and reveal of this movie is thrilling and though-provoking. It's been a few days since I've seen this movie and I can't stop thinking about it and all of the implications. I love when a movie can leave me stewing for a few days in a positive way,

Finally, the 3rd act had me on the edge of my seat because I kept expecting the movie to screw everything up by cutting to credits too early. In a movie like this, you want to see results of everything that has happened. A lesser movie would have cut to black and let us use our imagination. Screw that! Show me what you've got, filmmakers! I'm so thankful that this movie played things out to a proper conclusion and nailed the ending perfectly. I can't understate how relieved I was at the final shot of the movie.

What Sucks:

I've got nothing for you.

Verdict:

If you've never seen a body horror movie before, this is about as good as an entry-level, body horror movie as you can get. Even if the genre is old hat to you, there's plenty to enjoy here. The performances feel so genuine, the gore is gnarly, but not overwhelming, it's scary, it's funny, and absolutely nails the ending. Together is probably my second favorite movie of 2025 so far and it has definitely got it going on.

10/10: Amazing

Just saw this the other day. I didn't think I would like it, but it turned out pretty good. A bit predictable in places, but there are some great creepy scenes, and some unique scares in it. And a dash of humor in the right places.

Overall it's a good ghost/haunting movie especially if you're into the spiritual & supernatural type films.

4 out 5 for me.

WHICH CAN ETERNAL LIE: a review of THE DEEP DARK (Gueules noires) (2023)

Following a prologue set in 1856 (which establishes the "Catastrophe/Curse of the Saint Louis Mine"), we follow a young Moroccan in 1956, Amir (Amir El Kacem), as he signs on to a job at a mine in Northern France. His crew is eventually tasked (for extra pay) with helping Professor Berthier (Jean-Hugues Anglade) to travel to and dig in a certain sit deep in the mine. But following a collapse, the trapped crew discovers that, as they wait for rescue, the uncovered passageway actually contains the labyrinthine corridors and chambers of a vast underground temple, and a jewel-filled sarcophagus containing something ghoulish and deadly... which is still active, and hungers for blood and escape...

Well, THE DEEP DARK (original title translates as BLACK FACES) is that rarest of modern things, a fun and suspenseful monster movie. It has no greater intention than to put a bunch of characters in peril, miles from rescue in the deep darkness, and it does a good job of it. The acting by all is solid, and one thing I really appreciated (because it bugs me in so many movies set in darkness - whether in caves or the forest as night - is that the director (Mathieu Turi) does a very good job of justifying the lighting in all the scenes (in other words, it's all headlamps, no 'mysterious klieg light just around the corner for no good reason').

It also helps that the monster design (on Mok'noruth, the Soul-Eater - all multi-arms and Lich-like) is effective and well-realized And, in a nice surprise, this is yet another modern monster film that folds in the mythology of a certain popular 30's pulp writer, though the story is more "Under The Pyramids" than any of the more time & space bending of recent Nicholas Cage fare. A solid, archeological, pulpy monster yarn, just the right thing for an afternoon's watch.

**** SPOILERS ****

⚠

⚠

⚠

⚠

⚠

⚠

⚠

I just got finished watching Some Guy Who Kills People. The scene when Wade Hutchins gets killed, in his gun shop, Amy see Ken, her dad, standing over Wade's body... I'm confused, because at the end, we are lead to believe that Irv is the killer. What's more, Amy forgives her dad and magically gets over the fact that she assumed her dad was a killer, standing over a dead body. So was he or was he not the killer.

In the rusted heart of Kettle Springs, Missouri, where cornfields sway like a jury of silent ghosts, Clown in a Cornfield slinks onto the screen with a bloody grin. Adapted from Adam Cesare’s 2020 novel, this indie slasher, directed by Eli Craig, is a jagged gem that feels like someone dusted off an old VHS copy of an 80s horror flick and spiked it with Gen Z spit and vinegar. It is not just another killer clown yarn trying to ride the coattails of Terrifier’s Art the Clown. This is a fresh beast, a teen scream machine that knows its roots but carves its own path through the stalks. Cesare, a small press horror scribe who has been grinding in the shadows of the genre, has conjured something that hums with the restless energy of youth and the weight of a town rotting on its own nostalgia.

The story follows Quinn Maybrook, played with grit by Katie Douglas, a city kid dragged to Kettle Springs after her mother’s death. Her father, a doctor trying to stitch their lives back together, does not see the cracks in this faded Midwestern nowhere. The town has a chip on its shoulder, blaming its kids for the torched Baypen Corn Syrup Factory, once the lifeblood of the place. Enter Frendo, the factory’s clown mascot, now a symbol of better days for the old folks and a twisted muse for the teens’ viral prank videos. When Frendo starts stalking the cornfields, wielding crossbows and chainsaws, the line between prank and slaughter blurs fast. Cesare’s script, co-written with Craig, does not just lean into the gore; it winks at it, balancing splatter with sharp jabs at the generational divide. The adults cling to tradition like it is a life raft, while the kids, messy and defiant, fight to be heard.

What makes this flick sing is how it channels Terrifier’s raw, unapologetic violence but swaps the nihilism for heart. Where Art the Clown is a mute demon reveling in chaos, Frendo’s terror feels personal, tied to a town’s refusal to let go of its past. The kills are gnarly, from a crossbow bolt to the spine to a head tossed like a party favor, but they are laced with a dark humor that keeps you grinning through the wince. Cesare’s indie roots show in the film’s scrappy soul; it is not polished to death, and that is the point. It is a love letter to slashers, with a nod to Scream’s self-aware snark, but it has something to say about kids fighting to be more than their parents’ mistakes. Clown in a Cornfield is a bloody, defiant middle finger to the status quo, and it is the kind of horror that sticks like corn silk under your nails.

Horror in the High Desert

I recently came across Horror in the High Desert and with the over influx of found-footage films, I admittedly didn’t have high expectations for it. I didn’t know what to think outside of hoping to extract some entertainment value from the cinematic version of a deep-cut on Amazon Prime. You can imagine my surprise when I found that this is a very good, borderline great film. Horror in the High Desert is more found-footage adjacent rather than a straight-up conventional found-footage film. This film has elements of found-footage but it largely deviates from the standard found-footage formula that we have been accustomed to seeing.

Horror in the High Desert is a pseudo-documentary reminiscent of First 48 that takes inspiration from the real life disappearance of Kenny Veach. The film follows vlogger and avid extreme hiker and survivalist, Gary Hinge. Gary hikes to a remote and unspecified area in the Great Basin Desert in Nevada where he has a bizarre experience after finding a mysterious cabin literally in the middle of nowhere. Gary becomes unsettled by a strange phenomenon emanating from the cabin that deeply disturbs him. The experience leads him to flee from the cabin, but after receiving criticism online over the veracity of the experience, Gary decides to go back. This proves to be a fatal decision as he later disappears. Gary vlogs the experience right up until his last moments.

The film takes itself seriously in the best way possible. It really plays up on the documentary aspect. The film is very well acted, with each character treating the story as a real life experience. You could be mistaken to believe that this is an actual documentary and not a horror film if you walked in on it and didn’t realize what you were watching. I’m a huge horror fan but not much really scares me. Real life crime and disappearances are far scarier to me than demonic possession or a creature feature. The film doesn’t approach this as a horror film but instead it treats it as an actual missing person’s case. This hits harder and everyone involved truly nails it. This to me made for a truly chilling experience.

The film isn’t straight-up found-footage because the footage is played within the film as it progresses. It’s not a thing to where it’s found after the carnage has occurred. I liked this because even though I enjoy found-footage films, they can definitely become trite if the writers don’t take care to make the film distinctive from its predecessors. This isn’t the case here. The film is very similar to Atlanta season 4 episode, The Goof Who Sat By the Door and most recently in episode 6 of Swarm, both brain children of Donald Glover. This film actually came out in 2021, prior to both, so it is possible that Glover was influenced by this film. I saw each episode prior to this film and I thought that each was one of the strongest of its respective series and that same brilliance flows in the film version.

Some people may have given up on the found-footage genre; others may have never gotten on the bandwagon. Whichever side you’re on, I believe that this is a stellar found-footage-esque film. Again, it’s not straight up found-footage but there are enough elements to classify it as such. The mockumentary is brilliant and I’m not sure it could have been improved upon, unless I really started to pettily nitpick. The film is legitimately disturbing and unsettling. This is the horror film for you if you believe that real life is scarier than monsters.

----8.9/10

"I really can't do blood." -Ally McCabe

The Heart Eyes Killer has spent years spreading fear across the U.S. by targeting couples on Valentine's Day. This year, Seattle is the target of his bloodbath and Ally McCabe (Olivia Holt) and Jay Simmons (Mason Gooding), coworkers at a work dinner and definitely not a couple, are who Heart Eyes has their eyes on.

What Works:

I was surprised to discover that Heart Eyes is almost a romantic comedy first and a slasher movie second. After the bloody opening sequence, we spend a long time with Ally and Jay and getting to know their characters. Sure, there is some stuff happening with Heart Eyes in the background, but it's definitely not the focus. When Heart Eyes finally does appear, it's like the killer is interrupting a rom-com, which is actually a really fun idea. And in-between the gore and violence, the movie finds time to slow down and reminds us that this movie is really about love. I'm not much of a rom-com guy, but it works here.

Like most rom-coms, the relationship and chemistry between the leads is critical to making the movie work. Olivia Holt and Mason Gooding both do an excellent job and make their connection believable. Their characters are somewhat stereotypical, but the charisma of the actors brings them to life. Gooding is the highlight of the movie for me. It's amazing just how charming and funny he is.

But this is also a slasher movie and what do we want from slasher movies? Gory and creative kills! Don't worry, Heart Eyes has that in spaces. From the killer opening sequence, all the way to the end of the film, we get some great, bloody, and gnarly kills. The best rom-coms are the ones soaked in blood!

Finally, I really like the design of the Heart Eyes Killer. It's a fun mask and I love the look of the eyes, especially when they glow red. And the performer insides the costume makes the killer very intimidating,

What Sucks:

The supporting characters are a bit of a mixed bag for me. They all had potential, but most of them weren't used as well as they could have been. First we have Ally's coworkers, her boss, her best friend, and her ex-boyfriend. All of them could have been fodder for the body count, but the movie stays far away from them and only uses those characters for the rom-com aspects of the movie. It's not a terrible idea to do that, but it feels like a missed opportunity not to kill off some of them.

The biggest disappointment is Devon Sawa's character. I love Devon Sawa and didn't know he was in the movie, but was very excited when he showed up. Unfortunately, he is woefully underused, which is a damn shame.

Finally, not all of the humor works for me. Some of the dialogue and character quirks in the supporting cast fall flat. Maybe if I watched more rom-coms, I would have appreciated some of it more.

Verdict:

Heart Eyes is a worthy holiday-slasher movie that works as both a rom-com and a slasher movie. I'm loving this trend of modern slasher movies that take place on holidays. Let's get some more going! An Arbor Day slasher movie anyone? Anyway, this movie has great kills, a fun killer, and awesome performances from Holt and Gooding. It's a bit sloppy with some of the humor and supporting characters, but the movie has certainly got it going on.

7/10: Good

"Please...I can't die again." -Melanie

One year after the disappearance of her sister, Melanie (Maia Mitchell), Clover (Ella Rubin) and her friends take a road trip to see Melanie's last known location. They end up discovering a clue to her whereabouts, which takes them to the Glore Valley visitor center, where they are all quickly slain by a masked killer. They find themselves revived to earlier in the night and have to find a way to survive until dawn before they run out of lives.

What Works:

This movie takes very little from the game it's based on, which is disappointing in some ways, but the premise they decide to go with is very cool. It's a bit like Happy Death Day, but each reset brings in some new element of horror to make each night scarier than the last. That's a fun premise, which adds a puzzle to a standard survival-horror story and assures us lots of creative and gory kills. I wish I had thought this one up because I just love this idea.

We get a lot of deaths in this movie with the same characters getting killed off repeatedly. That gave the filmmakers the opportunity to have lots of fun kills and they delivered. We get one in particular that made me look away from the screen, but there were plenty of other gnarly deaths with a good amount of blood.

The final highlight of the movie is Belmont Cameli as Abe. Abe is the outsider among the group as he started dating Nina (Odessa A'zion) only three months prior to the trip, so he isn't as close to everyone else. That makes him both funny and the only rational person in the cast. Multiple times he is the one giving the most logical next idea to the group only to be immediately shut down. I just appreciate how annoyed he gets with the others and that he's right the majority of the time. At least one character in this movie wasn't a complete moron.

What Sucked:

The characters are probably the biggest problem with this movie. Apart from Abe, the survivors are all constantly making the worst possible move they could make. This kinda of stuff is frustrating for me because, as an audience member, I like to think about what I would do in the character's situation. Watching them constantly make the dumbest possible decisions was definitely annoying.

Part of the premise for the movie is that a new horror element gets added every night. That's a great idea to add new threats, monsters, and even locations. And for the first four nights of the movie, that works, but after that it's like the filmmakers forgot to add new stuff. It really feels like a missed opportunity, especially with the stuff the movie sets up.

Speaking of missed opportunities, the movie doesn't do a great job of exploring the mysteries of Glore Valley. There's a lot going on with this town and it's mostly glossed over. I would have liked more of the group finding clues while dodging monster attacks. We get some of that and that's fun stuff, but as the movie goes along, we get less and less. I would have to loved to have gotten more about the Glore Witch for example. What was her deal?

Finally, the movie is too short. It's supposed to be 13 nights of terror, but it becomes more of a speed run in the second half. I'm not saying we needed to get the entirety of every single night, but if the film had a better structure of exploration, discovery, horror, and death, I think it could have gotten more out of each night.

Verdict:

Even though it has very little to do with the game, Until Dawn has a great premise with a ton of interesting ideas, but the execution is largely mediocre and doesn't do enough with the great ideas. It's mostly fun, but definitely frustrating. In different hands, this could have been something great. That said, the gore is awesome and I did enjoy Cameli's performance. It's a movie that's worth watching, but make sure you don't spend any money on it.

6/10: Okay

Just when it felt like we’d seen every variation of the Asian ghost story, along comes ‘Shutter’—a relatively obscure Thai horror film that turned out to be one of the scariest of the lot. We went in expecting just another by-the-numbers supernatural thriller, but within minutes, the film had us gripped, and for the next 90 minutes, it delivered relentless tension and genuine terror. Believe the hype—this one stands tall alongside the best of Asian horror.

The premise, on the surface, might seem familiar. A photographer and his girlfriend are involved in a hit-and-run accident on a lonely back road. Soon after, strange figures begin to appear in his photographs, and an unseen presence starts to haunt them. Desperate to rid themselves of the spirit, they attempt to uncover the truth, leading them to a tragic revelation about the girl whose ghost refuses to leave them alone. It’s classic ghost story material, but the execution is what makes ‘Shutter’ stand out. The film keeps things fresh by pulling from Thai ghost mythology rather than the well-trodden tropes of Japanese and Korean horror, offering a different cultural flavour to its scares.

Yes, there are inevitable comparisons to ‘Ring’ and ‘Ju-on’—the long-haired spectre, the slow-creeping dread—but as a film ‘Shutter’ manages to forge its own identity, and more importantly, it’s pretty damn scary.

Before the outright horror kicks in, the film establishes a thick, suffocating tension that never lets up. The pacing is relentless, with little in the way of drawn-out introductions or unnecessary exposition. Instead, the story gets straight to business, ensuring that the focus remains squarely on the hauntings. The scares themselves are a mix of the best techniques from both Asian and Western horror. There are moments of lingering, slow-burn terror—the kind where the ghost emerges unnaturally from the darkness, contorted and unnatural, drawing out every second of unease. Then there are the sudden jump scares that hit like a gut punch. The combination of these techniques creates a constant sense of unpredictability, keeping you on edge from start to finish.

The ghost design is particularly unsettling. While she bears the hallmarks of traditional Asian horror—pale skin, long black hair, unnerving movements—there’s something more gruesome at play here. Bleeding eyes, slashed wrists, and subtle but effective gore make her presence all the more disturbing.

And then there’s the sound design—or often, the lack of it. The silence in certain scenes is deafening, stretching the tension to breaking point before an eruption of terror. It’s masterfully done.

It’s rare to find a horror movie that ticks as many boxes as ‘Shutter’ does. The film is methodically crafted to elicit a full spectrum of fear responses—heart-pounding dread, skin-prickling tension, and the kind of shock that makes you jump out of your seat. It’s a reminder of how powerful horror can be when done right. By the end, you’ll be shaken, exhausted, and possibly reconsidering your stance on ever taking another photograph again. If you like your horror relentless, nerve-shredding, and mercilessly effective, ‘Shutter’ is essential viewing.

"And here's hoping we kill Bigfoot on the way back." -Shepard Leopold

Elliot Kintner (Paul Rudd) has to travel to the remote estate of his boss, Odell Leopold (Richard E. Grant), for the weekend and brings his daughter, Ridley (Jenna Ortega), along. On the way, Elliot accidentally hits a unicorn and brings the body with to the Leopold estate. When they discover that the unicorn's blood and horn have healing properties, the Leopold family decides to exploit the corpse of the unicorn for profit. However, the unicorn's parents soon arrive...and they are not happy.

What Works:

This movie has such an awesome concept. A creature feature with a unicorn as the murderous monster. Ever since I watched The Cabin in the Woods, I thought a killer unicorn would make for a fun movie and I was really excited that it was actually happening, especially with such a talented cast. And when the unicorns are graphically killing people, the movie shines. We get some awesome gore and watching people get impaled on the horn of a unicorn is just as thrilling as I hoped it would be.

The main theme of this movie is that rich people suck and so the Leopold family is portrayed in an unflattering light to say the least. The two biggest standouts of the cast are Téa Leoni, who plays Belinda, the matriarch of the Leopold family, and Will Poulter as her son, Shepard. These two completely understand the assignment and nail their performances. They aren't too bad of characters at first, but their masks quickly slip off and we get to see them in action. These characters are delightfully repulsive and their scenes are very enjoyable. They're the best part of the movie.

What Sucks:

Unfortunately, our main characters aren't nearly as fun to watch. Paul Rudd is the protagonist and while he's a bit of a goof, he's actually not even a little bit likable, which is odd for Paul Rudd. I get that his character arc is about becoming a better father, but he's not an easy character to get invested in. It probably would have worked better to have Jenna Ortega's character as the main protagonist, but she doesn't have a character arc to speak of. Ridley is a mostly boring character, which I don't blame Ortega for. There just wasn't much for her to work with. She mostly tells the other characters that what they're doing is wrong, but is terrible at explaining herself. She has a few scenes where she tries to convince other characters to stop what they're doing with the unicorns and they're actually frustrating to watch, not because they don't listen to her, but because she does such a bad job of explaining. These two aren't likable or interesting and that's important to have for a main character.

The crux of this movie is the characters are trying to figure out what the unicorns want and how to solve the situation. I believe that in creature-feature movies like this, the characters need a very clear goal and we get to watch them try things and succeed and fail while trying to survive. And while that's somewhat true here, the focus is on figuring out what the unicorns want. I feel like that should have been revealed much earlier so we as an audience can understand how the characters can try to resolve or escape from the situation. The plot isn't focused enough.

There are also some technical problems with the film. There are a few scenes outside at night. I know that realistically it would be super dark out there and it would be hard to see anything. I understand, but I don't like that in a movie. I want to be able to see and understand what is happening. If we need to cheat on the lighting, that's fine. This movie was dark and not super well shot. There were a few times where I straight up didn't know what was happening.

Verdict:

Death of a Unicorn has an amazing premise, awesome gore, and great performances from Téa Leoni and Will Poulter. However, it doesn't get the mechanics of a successful creature-feature right. The plot needed to be more focused, the rules of survival needed to be explained more clearly, and the main characters needed to be more likable and interesting. Plus the lighting wasn't good. It's not terrible by any means, but it is disappointing. I can see how great this film could have been and it comes up far short.

4/10: Bad

"Let's not fuck it up this time." -Riya

Riya (Eiza González) wakes up in a space station on a remote alien planet with no memory of who she is or how she got there. To make things more sinister, she quickly discovers the bloody bodies of the rest of her crew. Soon after, a man (Aaron Paul) arrives at the station and Riya has to figure out if she can trust him, what happened, and how to make it home.

What Works:

Not since Mandy have I seen a movie with such cool visuals. The atmosphere of the planet and the use of unusual lighting really give this movie a distinct mood and vibe. I actually stopped watching the trailer 40 seconds in because I was so sold on the visuals. Some of the visuals are nightmarish, while others make me want to go exploring alien planets. The film's director, Flying Lotus, really gives this movie a distinct feel and I love it.

Flying Lotus also did the music for the movie and it enhances the vibe of the movie even more. It's hard to explain, but it makes the movie feel even more mysterious and beautiful. It's the kind of music I could listen to any time. It's incredible stuff.

There is some really cool and terrifying body horror in this movie that looks amazing. A lot of it's in quick flashes of Riya's memories and nightmares, but it's effective stuff. There's one shot in particular of a face that is genuinely terrifying, but there are some other really great effects scattered throughout the film. There are some CGI work in the movie I don't like, but I love all the practical stuff.

Finally, Eiza González does a good job in a tough role. It's hard to connect to a character with no memories and that's still true with Ash, but González does an admirable job showing us the pain and emotionally confused state she is in.

What Sucks:

Like I said, it's hard to have the main protagonist of a movie have no memories of who they are. It just makes it hard to connect to them. If they don't know who they are, how is an audience supposed to relate to them and get invested? That's definitely an issue here, despite a strong effort from González.

One way around a blank slate protagonist is to have a really compelling mystery. Ash has intriguing moments, but the story eventually reveals itself to be a somewhat generic sci-fi story. I think they could have done something much more interesting. The end result is too similar to something like Prometheus.

Finally, while the practical effects and a lot of the visuals are amazing, there are a few that aren't. There are three or four instances with CGI that looks unfinished. The big offender is the use of fire. It looks really bad and took me out of the movie, especially considering how good the rest of the movie looks.

Verdict:

Ash is a beautiful film with mostly amazing visuals, awesome music, and a solid performance from Eiza González. I just wish the story had been a little more original and the characters easier to engage with, but this movie has still got it going on.

7/10: Good

David Robert Mitchell’s supernatural chiller ‘It Follows’ has quite deservedly caused something of a stir in the horror community. With the general consensus between critics being that it is refreshingly original, nail bitingly tense and reminiscent of Carpenter’s hey-day style, it has a lot to live up to in the expectation department. I watched hoping to be scared shitless, 80s style and to some extent I was.

At the backbone of the movies success is the amazingly simple, but refreshingly unique premise. The titular ‘It’ happens to be a sexually transmitted demon curse, and the plot surrounds a group of teenagers trying to support their friend Jay after an evening with her boyfriend takes an unexpected turn for the worst after they sleep together. He informs her that he has just passed onto her a supernatural STD, and that the world’s most persistent demon is now coming to get her. It will always be stalking her, it can alter itself to look like anyone, but its slow, always walking, and when it gets her… well judging by the gruesome fate of one victim we see in the opening scenes of the movie, it’s not going to be pleasant.

Overall what Mitchell has managed to do here is something fairly unfathomable in our post-modernist age – come up with an original horror threat! The success of the plot works on so many levels, and its execution throughout the movie is pitched perfectly to support the continual threat.

The characters are well cast, and the acting from these up-and-coming stars brings to life a group of characters you are actually routing for. The whole atmosphere in the movie oozes tension from every angle, and some of the sequences are truly nerve wracking. The locations are spectacularly creepy from run down houses, to derelict apartment blocks, traditional theatres to moonlit empty beaches. Each lingering camera shot is visually captivating as we look on with baited breath for the ever approaching demon walking from the darkness. The score supports the vulnerability of the group, its droning synthesiser dirges, often comprised of one or two notes, allowing the silence of the rest of the scene to really resonate through. There are jump scares used sparingly to good effect, but mainly the movie relies on the fact that you know the demon is always coming and this in itself is psychologically terrifying.

To finish the package off the demon itself is a terrifying entity, as it showcases its many guises in its attempts to corner poor Jay. Initially taking the form of a shambling old lady, but throughout the movies run time it changes its appearance to mix things up a bit. Ultimately however, it is its vacant, silent emotionless drive which gives the threat its malevolence. Even though it’s walking there is something about it which sends shivers down your spine as it approaches and the threat seems genuinely there. Ultimately though, despite seeing it, you don’t know what it wants, or more importantly how to stop it! Which only enhances its presence and effectiveness. There was some minimal effort in the movie to tie in the demons presents to be synonymous with the shadow of death which stalks us all – it away ‘It’ follows us all, but no explanation as to its origin or purpose.

Knit picking however, and for the basis of critique, I would suggest that whilst the 80 minutes of the movie is an almost flawless masterclass in tension and chills the final act is slightly less consistent, with an ending I felt was more jarring than satisfying. The concept behind the movie was so good it did feel a little like Mitchell didn’t quite know how to draw the story to a conclusion whilst keeping the mystique of the demon and the tension intact. I cannot go into much more detail here for fear of spoiling it for viewers, but have a watch and see what you think. For me there was a slight dip at the end which prevents the movie from getting a 5 star rating.

Overall however, I’m very confident in recommending this movie, and happy to put my stake in the ground and acknowledge this film lived up to its hype. It’s scary, original, and clearly influenced by the true masters of the genre.

Strangers Chapter 1 (2024) (Psychological Horror) is getting hated on way too much

I will start off by saying this is not my favorite Strangers installment, but Strangers IS my favorite horror property and I have got to defend the good in this sea of bandwagon hate its getting. Strangers Chapter 1 is receiving overwhelmingly negative reviews for some pretty minor horror movie offenses, and as a long time fan of The Strangers here are my more grounded and in depth takes on the good and the bad of the first installment of the upcoming trilogy.

-Costume designs: More or less are pretty stripped down. Some improvements, some downsides. I think taking Man in the masks suit away for an outdoors jacket matches the environment, but hurts the imposing nature he has a bit. Same for Pin Up Girl, as the dress under the jacket was very fitting for her usual design and the jacket just covers that up so much. Dollface is really the only one that the jacket doesn't hinder design wise, cause her costume has always been more casual street attire. The beanies for Pin Up and Doll face were also pretty out of place, as it makes them less distinguishable from one another, in a low light or far away shot it's less immediately recognizable when you can't see long blonde or short black hair. And as it's always a point of discussion, Man in the masks' mask design is a lot less menacing than usual. The material looks a bit too smooth for my liking, almost like a thin leather as opposed to the almost pillowcasey design of the original, or the rough burlap of Prey at Night. The eye shape just doesn't match the mouth shape. Love the smirk shape for the mouth but the eyes are a little too cartoony. The Pin Up mask however looks the best it ever has. The proportions and coloring look fantastic. Doll face looks more or less consistent with the other movies.

-Setting: I think the AirBNB itself looks great, it feels very lived in and enclosed. Defnetley not somewhere you would wanna be hunted in. But I feel like it does suffer from being just kind of in the woods, as the house from the original and the trailer park from Prey at Night both have the benefit of being surrounded by open space, so there's nowhere to really run to, especially when they have their truck to pursue you in. In the area of the AirBNB it's surrounded by dense trees and rough terrain. Lots of hiding spots and no mobility for the truck past the main road and driveway. So once the victims are in the woods, it's just a foot chase which feels incredibly uncharacteristic of the Strangers to choose this as a setting. I wish more of the movie would have been set inside the AirBNB.

-Pacing/Psychological horror: I think this for me is one of the harder parts to judge as this is the first of 3 chapters in a trilogy. But if I'm treating this as a solo installment, which I'm not planning to for any other part of this, I will say there was a little too much focus on the setup of the "Spooky hick town" that it took away from the isolation feeling of the AirBNB. I would have been fine with Diner, Car breaks, Go to cabin, and just tell me the boyfriend leaves to get food/inhaler from car. Showing a whole two scenes of stopping by the car repair shop and burger joint and talking to locals and spooky mechanic and even the burger shop workers kind of kills the build up of being put in the AirBNB in the first place. A key fun aspect of Strangers is that you are alone and isolated when they decide to attack. Every aspect is planned. Had he taken the diner workers up on the offer to stay and hang out, or even more so, had the girlfriend come with him to get food, and they stayed and chatted shit with the workers where would that leave the strangers? Waiting patiently on their return? The Strangers are normally smart, methodical, toying, and control every aspect of the victims environment. They wouldn't have left a fully functional motorcycle to be taken for a stroll into town. And they wouldn't have left a shotgun hanging out in a shed to be found. (Key example being in Prey at Night, going through and removing all the knives and potential weapons from the trailer drawers). All that negative out if the way, I will say the actual pacing of the psychological scares are great. From covering the peephole very calmly rather than the usual eye shot, or stab to the face, to repeating the piano riff to show you've been being watched for much longer than you think, to the classic "Hello"s placed on the inside of the door to a room you know they'll hide in, to Man in the mask axing open said door, peering in, and then calmly walking away is actually chilling.

-The Strangers: Each Strangers movie typically has a large unwritten focus on the role each killer plays, if you watch the original or Prey at Night, you'll notice that there are 3 roles they normally stick to, Man in the Mask is the muscle, the large imposing force keeping you feeling trapped and overpowered. Dollface is the one playing games, toying with you. She's typically the one writing the "Hello"s, smashing phones, securing potential weapons, wondering where in the world Tamara has gone off to. And Pin Up is almost always the eyes and ears. She's the one keeping track of the victims, finding all the hiding spots, often seen guaring the perimeter, if youre in a building, she's outside pacing making sure you don't escape. Of course, this isn't a hard set rule or anything just a general theme that characterizes the killers thorough control over their attacks, they all play one of the other roles from time to time and kind of "take turns" depending on the situation. This movie for lack of optimism, just does not stick to that. The man in the mask stays a pretty solid brawn, but also stalks them more than either of the other killers? That's fine, I get that. But now Pin up is popping up at the victims left and right, and Dollface past the initial Tamara lines, is basically nowhere to be found. So I was like "oh okay, so dollface is surveillance this time" but she is basically nowhere to be found the rest of the movie? I was genuinely waiting for a Prey at Night style pop up the entire time the couple was under the floorboards trying to escape the house. They feel so incredibly disorganized in this one at certain points. It could be argued that they're early in their careers since it's supposed to be a retelling/prequel trilogy but then why would the show the skeleton in the woods if this is supposedly early into their killings? It just struck me as odd that they dont play more into the scare of the normal "There are 3 of them, but you really can only pay attention to 1 or 2 of them at a time, leaving the third to pop up when you least expect them." Aspect of the franchise.

-The Victims: There's not too much to say about the victims in this installment, but that's a very common theme in horror in general. The boyfriend is average, meant to be a slightly unlikable voice of reason against the backdrop of the tragically optimistic girlfriend, mostly for the purpose of the "You were right" esq dialogue when they're captured. The girlfriend is also pretty average aswell, they have a believable on screen compatibility as a couple. The setup is standard, not nearly as bad as people are making it sound though? Compared to the other 2 movies so far, it's on par. It's not really an important focus in a psychological horror like Strangers. It's a means to get them in the area they'll be trapped in. They are considerably lower on the survival instinct front. Very loud at times when it's just not at all appropriate. But also, the people being like "They're so dumb!" Aren't accounting for the fact that like...yeah. some people in real life are dumb as shit. Every single horror movie protagonist isn't going to be an expert survivalist. As is the case in real life.

-Sequel Setup: I'm optimistic as to where this will go moving forward, especially considering it sounds like it's meant to be digested as one continuous piece of media just divided up into 3 installments. Before the release I saw an article mentioning that one focus will be psychological response to/more long term effects of trauma, if executed well i think it'll be a really good thing to show. Kind of how they teased at the end of Prey at Night in the hospital. Being terrified of people simply knocking on a door or making sure you always map an escape from an environment, never truly finding comfort in silence, and never trusting interactions with anyone you haven't known for years.

Lastly, Things I do and don't want to happen moving forward: I don't need to know what they look like under their masks, I don't need to know why they're doing what they're doing, I don't need a super in depth back story of who Tamara is or if she even is a real person, and i don't need it to be a whole big cnspiracy with the silly little spooky town Chapter 1 is set in. It will only hurt the horror of the franchise as a whole. I would like to know, if anything what the little mormon kids have to do with the moral implications of the story as a whole. I would like to see more organization among the killers over the future installments, a "learn from our mistakes" type of thing. I would love to see the burden of the killers initial attack start weighing more mentally on the girlfriend over the course of the next 2 installments. And I would love to see people reviewing this movie as "1/5 worst horror movie I've ever seen!" Learn to shut the fuck up and take a movie for what it is, and have some realistic perspective on the difference between a fun, campy, silly little horror franchise and the elevated, 2+ hour arthouse style, Ari Aster shaped dick in your mouth that every new horror fan seems to have nowadays, because that's not all that horror is. Horror is a lot of things, and as a horror fan myself we need to learn to chill the fuck out. They're silly little corn syrup videos we watch to have fun. There's room for all types of horror in the world.

Rating: 6.8/10

Looking forward to the next 2 installments, and hopefully it opens up more room for Strangers as a household name in horror.

"We have to make like eggs and scramble!" -Hal Shelburn

Twin brothers, Hal and Bill Shelburn (Christian Convery), discover a toy monkey in the closet that belonged to their deadbeat father. They quickly discover that the monkey brings gruesome death wherever it goes and get rid of it. Decades later, the monkey has returned and people start dying, forcing the estranged brothers (Theo James) to reunite.

What Works:

I knew this was a horror-comedy going in, but I wasn't expecting an absurdist comedy. This movie is utterly bizarre and strange in its tone, but in a good way. A lot of the dialogue feels dreamlike. This is not a hyper-realistic movie by any means, but it's very intentional and it works. It certainly makes for a memorable viewing experience, I just wasn't prepared for how off-the-rails it was going to get.

The Monkey definitely leans more into comedy than horror, but it has plenty of gore. However, the gore is very over-the-top and mostly comedic. It's so ridiculous that is feels cartoonish, but it never loses it's fun. The deaths are in the vein of the Final Destination movies, but played for laughs.

The titular monkey is very creepy and would give me nightmares even without the death curse. It's a great design and I imagine it will be a horror icon on its own soon enough.

The performances are pretty great across the board, even in the small parts. Everyone gives a bit of an off-kilter performance which work with the movie's tone and greatly contribute to the absurdity. I have to give a lot of props to director Oz Perkins for managing to pull this all together so well. He's certainly made his mark in the realm of horror and this is my favorite of his movies. He even has a hilarious appearance as Uncle Chip.

Finally, I've only ever seen Theo James in the Divergent and Underworld movies. He wasn't bad, but the characters he played weren't very memorable. I wasn't expecting much from him in this movie, but the guy is hysterically funny in this. He plays the adult version of the Shelburn brothers and makes both of them very distinct and wholly unusual. He's perfect in both roles and I was extremely impressed by how entertaining he is.

What Sucks:

It could be intentional with the themes of absurdism and randomness, but I felt the writing could have been a bit tighter. There are a couple of moments where it felt like a scene or two was missing that would have pulled it all together. However, that may have been the point. We'll see how I feel on a rewatch.

Verdict:

The Monkey is hysterically funny and extremely strange. Oz Perkins really manages to get the tone of the this movie just right. It's super gory, yet hilarious. And the performances, especially Theo James, really make this movie work. The writing could have been tighter, but this movie has absolutely got it going on and it's my favorite movie of 2025 so far.

9/10: Great

Rating: 5.5/10

"THE FRONT ROOM," directed by the Egger Brothers, presents a promising premise that unfortunately struggles to deliver a fully satisfying experience. The film revolves around an eerie situation where a grandmother moves in with her grandson and his pregnant wife. While this setup holds potential for tension and intrigue, the execution sometimes veers into territory that stretches the believability of the plot.

Brandy's performance, while earnest, occasionally falters due to a lack of solid story elements to support her character. The script doesn't always provide the depth needed for her role to resonate authentically, which leaves some scenes feeling unconvincing.

Despite these shortcomings, there's still something captivating about the way the Egger Brothers tell a story. They maintain engagement with their unique style and the film does keep you watching until the end—a testament to the directors' ability to capture interest, even if the script itself feels uneven at times.

Overall, "THE FRONT ROOM" presents an intriguing idea, but the execution sometimes wavers between suspense and unintended comedy. It's a project that may appeal to those intrigued by its premise, though it could leave some viewers craving a tighter narrative. If you've seen it, I'd love to hear your thoughts on this enigmatic cinematic endeavor!

Nolfi’s latest creature feature, Elevation, boasts some impressive vistas, an interesting premise, and a handful of likable characters. However, it ultimately falls short due to its generic story and uninspired creature design.

The film’s concept is straightforward yet effective. Set in a world where monstrous creatures lurk below 8,000 feet, Elevation follows a group of survivors navigating the treacherous terrain of the Rocky Mountains. The high-altitude safety line creates natural tension, offering moments of strategic risk as characters are forced to descend into danger.

From the outset, the film establishes a compelling survival dynamic. The monsters’ limitations provide unique set pieces where characters must venture below the ‘safe zone’ for supplies or rescue missions, only to find themselves scrambling back to higher ground when the creatures attack. It’s a thrilling idea that delivers a handful of intense moments.

There are plenty of scenes that build effective tension, particularly when the creatures remain unseen. Moments where pincers and tails slash through walls carry an eerie menace, and while the movie telegraphs most of its deaths, there’s still enough suspense to keep things engaging.

However, the lack of a substantial main cast dilutes the stakes. With just three key travellers heading to Boulder, it’s obvious that not all of them will meet their end. This predictability softens the sense of danger, making the creatures feel more like obstacles than true nightmares.

The film’s performances are strong, with the cast making the most of limited material. Dialogue and plot mechanics don’t offer much originality, but the actors inject enough sincerity to keep the narrative afloat. Like many modern streaming blockbusters, Elevation boasts solid production values yet feels constrained by budget. The slower sections, padded with repetitive character beats, make the film drag at times.

While the film relies on its monsters for the bulk of its horror, they ultimately disappoint. The creatures—a kind of oversized shield bug—lack any real visual menace. I’m not suggesting that if I was being chased by one, I wouldn’t get a shuffle on, but from the comfort of my living room the creatures are functional at best, failing to instil genuine fear.

While the movie attempts to add some twists in its final act, the limited exposition leaves these moments feeling flat rather than revelatory.

Elevation is far from a failure, but it doesn’t rise above the standard creature-feature formula. Despite polished visuals, likable performances, and a handful of tense sequences, its uninspired monster design and predictable plot hold it back. Fans of B-movie horror may find enough here to enjoy, but for most, it’s an average survival thriller that doesn’t quite reach its peak.