While a tad outside of the director’s normal realm, Gore Verbinski’s A Cure for Wellness houses his over the top sensibilities, wrapped in a deceptively artistic film. Granted, the deception doesn’t equal a tantalizing viewing experience, but rather lulls the audience into a false sense of intrigue, which shows its hand quickly as nothing more than a B-movie taking its time to completely lose its mind.

In the same vein as A Nightmare on Elm Street and the more recent Sinister, Stacy Title’s debut theatrical release attempts to bring a new supernatural icon to the forefront of the genre. Sadly, the clear outcome with her efforts is the titular Bye Bye Man is nothing more than a passing thought of 2017, and even the viewing experience itself leaves the audience ready to move on as quickly as possible.

Sigourney Weaver prepares for battle in Aliens

The first – and perhaps greatest – test any sequel must face is the inevitable comparison to its predecessor. This is a high bar to set for something like 1986’s Aliens as the film it follows, 1979’s Alien, is universally heralded as a masterpiece of both sci-fi and horror. Surprise, surprise: Aliens, which was written and directed by James Cameron before he became that James Cameron, does succeed in trumping its ancestor in many ways.

Perhaps one of the most important things a film should be is compelling. It’s a word that film critics love to throw around and at first glance could easily be dismissed as hollow, gobbledygook jargon. After all, it’s easy to view it as simply an overly complicated synonym for “watchable”, after all there’s plenty of terrible films that fill that mold. However, when you really drill down what makes a film compelling is more than that. Does it leave you with a feeling of mystery, visual panache and wonder?

The SyFy network, aside from putting out terrible mutant shark movies, has recently dabbled in distributing titles of moderately elevated quality. They previously put out the average science fiction thriller, 400 Days, which was at least something other than a nature gone ridiculously wrong snoozer--although it was still kind of a snoozer. Atomica finds the network taking another step in the right direction--even if it is a baby step. 

It's been five long years since Sean Byrne graced us with the near masterpiece that was, The Loved Ones--eight years if you count the lengthy festival run. That's a long time to be twiddling our thumbs waiting to see what the filmmaker would do next. With the release of The Devil's Candy (in select theaters and VOD March 17, 2017) the wait is finally over as Byrne unleashes his totally metal and satanic sophmore effort upon the world. 

James Cameron’s 1989 sci-fi thriller The Abyss took audiences to the steely blue depths of the Caribbean where the film’s plucky, devil-may-care bunch of oil riggers (in these movies aren’t they all?) square off sub-a-sub with a rogue SEAL team. Cameron’s film represents one of the final contemporaneous Cold War allegories in mainstream U.S. cinema. Though multiple edits and a ballooning budget kept the film from financial success it’s stark verisimilitude coupled with groundbreaking special effects endeared it to many critics.

The fascination with old and dilapidated houses is one that has endured. Regardless of any known hauntings, there’s just something about the isolation, the history left behind, and the time it has seen.  In Lavender, theses houses are described as “epitaphs” – a looming reminder of what has existed and what is left.

It’s a common desire of horror heads to want to find themselves in the middle of an actual horror movie—the tension, the frights, the validation of your knowledge of tropes and jump scares proving to be most important assets to your survival...Well, FEAR, INC. is your movie.

The Hess family listen in to an alien conversation in Signs

During one of many introspective moments in writer/director M. Night Shyamalan’s Signs, as the Earth inches towards what seems to be an inevitable alien-induced apocalypse, Graham Hess (Mel Gibson) posits a theory to his younger brother, Merrill (Joaquin Phoenix). Now this is no offhand musing. It’s the thesis statement of Shyamalan’s film. Graham explains that there are two kinds of people in the world. There are those who see miracles and there are those who see coincidence.