Summer has become a chomping ground for a shark movie resurgence. Ushered in mostly by The Shallows, followed a year later by 47 Meters Down, and now 2018 brings us The Meg; an adaptation of Steve Alten's series of novels that might as well have been dubbed "Jaws for Dummies." However, nearly two hours of giant shark shenanigans pales in comparison to the film's true wonder of nature...a smiling Jason Statham.

With the golden age of the 80's slasher no longer visible in the rear-view, the closest thing we can come to reliving them (apart from dusting off old DVD's or buying restored blu-ray releases) is checking out new interpretations from a modern perspective. The Ranger takes a shot as a hybrid 80's slasher if the killer's childhood hero was Smokey the Bear. In the process, director Jenn Wexler doesn't reinvent the wheel, but seems to be on to something with her deranged park ranger with an axe to grind attitude against those who don't respect the park he's sworn to protect. 

Somewhere in some secret movie exec roll-a-dex is a coffee stained card containing an algorithm for creating fringe horror concepts to fill the never ending supply of the grocery store DVD bargain bins. That card was dusted off recently to at least assemble Sergio Sánchez's debut feature, Marrowbone; a slow-burn family chiller combining a flurry of shiny cinematic tools, but lacking the heart and soul to make its spooky aspirations come to life.

Nothing says “summer blockbuster” like adventures, explosions, and a hunky leading guy and sassy leading lady. And nothing says “summertime review of a summer blockbuster” like that review being posted after the movie is already out of theaters. For those of you who are still dying to read a hot take, though, I didn’t want to leave you hangin’!

Editor's Note: What follows is a critical analysis of Unsane as well as a personal account of one of our writer's experiences with mental illness.

Hurt is a film in the same vein as The Strangers, claiming to be based on true events. Yet seeing as how multiple attempts to find anything matching the events in the film proved fruitless we're just going to have to take their word for it. Like its quiet stalk and slash ilk, the "true events" tag may just be a slasher twist on a ripped from the headlines story, or a means to artificially inject a sense of dread into the structure of modern domestic lifestyles.

Did you ever watch Home Alone and think to yourself, what if Harry and Marv were super creepy and angry pedophiles who instead of wanting to make a quick score from empty rich people's houses had more nefarious goals? Well, do I have the movie for you.

Disclaimer: This review is for entertainment purposes only and contains no legal advice. If you find yourself holding a loaded gun locked in a haunted mansion with a prize on the line, bring a carrier pigeon to contact your lawyer for advice. This review also contains SPOILERS; so if you were not alive when either of these films were released, based on our demographics, kindly observe them before reading. Its the shiver and shake, quiver and quake picture of the year! [That was an actual tagline]

What is there to say about a sequel to WolfCop? Quite frankly, if you saw and liked WolfCop, then there's really nothing that should keep you from tracking down Another WolfCop. If you slightly hated the first, then you already know what to do here. I suppose, this is the kind of review for those who were indifferent or on the fence if they even wanted to invest their time into catching up with the WolfCopiverse. 

At this place in genre cinema the haunted house film requires unique perspective from filmmakers. We can always hope a director has a some stylish or narrative trickery up their sleeve. The Witch in the Window doesn't have either of those things, at least not in an original or unpredictable way.