A star studded cast can both make and break a movie. You don't have to agree, but you need only take in the entirety of Kenneth Branagh's Murder on the Orient Express to begin to believe. Sleek, well acted and written--but so overstuffed and unfocused that its who's who cast is often more distracting than they are engaging. Additionally, it's central detective's inflated ego and eccentric behavior finds itself at odds with the film's overall tone. 

The monsters from Ghoulies lurking

“They’ll get you in the end!” vows the poster for 1984’s satanically tinged quasi-creature feature Ghoulies. At first blush, this tagline appears to be merely a, shall we say, cheeky reference to the star of the poster: a small demonic creature (or “ghoulie”) popping out of a toilet, waiting to attack some unsuspecting victim’s “end.” However, it’s also a disappointingly accurate assessment of the ghoulies’ involvement – or lack thereof – in the film bearing their name.

After almost twenty years and innumerable films, the found footage subgenre has become more than a little bit stale; a real hot take, I know. The category has become so “well-trod” that even the criticism and review of the myriad films is becoming wrote and repetitive. Talking about all the things that one of these movies does wrong can be hard to do without parotting oneself.

The late Roger Ebert, perhaps, best describes Herk Harvey’s low-budget, surrealist nightmare, Carnival of Souls, as possessing “an intriguing power.” One can see, as Ebert did, how Carnival predated masterpieces from Lynch and Romero: its eerie mood and atmosphere coats an oblique and minimalist story, led by sterile (otherwise detached) characters who – like the audience – understand little of what happens to them.

McG...the name that's more synonymous with pulpy, often generic crowd pleasing action flicks than it is for comedic splatterfests. Yet here we are, confronted with the idea that a Hollywood errand boy could have stumbled upon a nice little niche for himself. The Babysitter, the latest Netflix Original makes up for its sophmoric humor with some wicked gore and genuinely fun characters.

Here at Bloody Good Horror we spend much of our time talking about good movies and bad movies alike, and picking apart the things that place titles in either category.

Thomas Jane stars as Wilfred in Netflix's 1922

For a guy who’s been, by all accounts, happily married for nearly half a century, Stephen King sure can paint a bleak portrait of the institution. The most recent adaption of one of his depictions of wedded woe, 1922, is Green Acres if the show had lasted long enough for the main characters to resent the hell out of each other. A country boy born and raised, Wilfred (Thomas Jane) sees city people as fools, and he’s passed this worldview on to his teenage son, Henry (Dylan Schmid).

When it was released in 2014, Creep took us all by surprise. It dropped on Netflix with little to no warning or fanfare and became a genre darling overnight. And its acclaim is completely earned. With an incredibly small cast and a plot arc that kept you guessing right up until the end, Creep managed to comment on several prevalent tropes in found footage and horror at large, while still maintaining a level of tension that seemed to touch the clouds in certain scenes. Plus, it introduced us all to Peach Fuzz! What more could we ask for?

There are three basic don’ts every player, viewer, and creator of the Saw franchise should know eight movies deep. Don’t: (1) break the rules of Jigsaw’s games, (2) mention Betsy Russell or her character Jill Tuck…ever, and (3) rely on an illogical plot twist that breaks the rules of the universe.