There's just something about a filmmaker named Christopher that--when they've got a new movie out--I get weak in the knees. It's not likely that Nolan will be trampling deep within the horror genre anytime soon, but there is one Chris that has spent most of his career dabbling within it. Christopher Smith isn't nearly a household name as of yet and it's a travesty. With the exception of Get Santa (his children's holiday flick that I can't bring myself to watch) Smith's filmography has nary a blemish. 

As far as zombie movies go, there isn’t typically a lot of variation. More times than not, our protagonist wakes up one day in a world that has radically changed (think 28 Days Later, the pilot of Walking Dead, the Dawn of the Dead remake). In these movies, we are along for the ride while characters try to adapt on their feet to a whole new set of rules.

Kate Beckinsale in The Disappointments Room

If you’re a horror fan, then The Disappointments Room probably isn’t for you. If you’re a copywriter, then you probably already recognize it as a gold mine. As a combo spooky-house flick and psychological thriller, it’s neither spooky nor thrilling. That title, though. It’s a ready-made critique on the film’s quality – or lack thereof – and it gives rise to endless variants on the theme of “this movie is so bad it turns whatever room you’re watching it in into a disappointing room.”

You should never judge a book by its cover. The same courtesy should be extended to movies and their poster art and let's just say Bornless Ones really earns the shady glares invited in both title and artwork. First and foremost being that the cabin featured on its poster isn't even close to the house that's actually in the the movie. Architecture criticisms aside the peculiarly titled Bornless Ones does offer an interesting cabin in the woods twist even if it is riffing heavily from a certain Sam Raimi favorite. 

One of the reasons I’ve always been drawn to genre filmmaking is its sometime subtle ability to illuminate the real world through a shocking, blood-soaked allegory. Even if a film’s setting is a fantastical monster fest, or human kind is threatened by a Machiavellian alien plot; if a film can use those techniques to draw direct my attention to the real world it has appreciated in value. Few forget the parallels to Communism in Attack of the Body Snatchers, or the shocking commentary on the competitive nature of schooling in Battle Royale.

It wasn’t too long ago that seeing M. Night Shyamalan’s name in the trailer for an upcoming movie would elicit smirks and groans. After making a name for himself with The Sixth Sense, it seemed that he could do no wrong...we were all so young and naive. By the time we got to Mark Wahlberg playing a middle school science teacher and wondering what happened to all the bees, Shyamalan’s fans had soured on him. When initial trailers began surfacing for The Visit, cautious optimism sprang anew and, for many, that optimism was rewarded.

Julie Benz in Havenhurst

Fresh out of rehab, Jackie (Julie Benz) needs a place where she can relax, focus on her newfound sobriety, and start piecing her life back together. The titular sprawling gothic apartment building in Havenhurst claims to offer those things, but, spoiler, it doesn’t. What Havenhurst does have is a history of making people like Jackie disappear. Rather than working on her new life, Jackie starts unraveling a mystery that could end with something far worse and more permanent than a relapse. 

Netflix enjoyed a pretty impressive run of original releases throughout 2016 with titles like Hush, Mercy, I Am the Pretty Thing That Lives in the House and Spectral. They've wasted no time in jumping back into the pool with their latest release, Clinical, which sees the world's largest streaming platform stumbling out of the gate at the start of 2017.

VooDoo people decide Dani's fate in the film VooDoo (2016)

Try as you might to forget it, the past can be relentless. That’s particularly true if your past involves accidentally having an affair with the husband of a powerful voodoo priestess, as it does for Dani (Samantha Stewart), the unfortunate soul at the center of VooDoo. Sadly for her – and, as it turns out, viewers – that type of misdeed takes more than a train ticket west and a near-unimaginable month block of vacation time to escape.

When you review horror movies for a reputable site such as Bloody Good Horror, sometimes you get the opportunity to watch and review screeners. Usually smaller budget indie movies, these titles exist on a spectrum; some are hidden gems, while others are...not. A vast majority fall somewhere in between the two extremes. But every once in awhile, you get very unlucky. You get a movie that is so far from a shiny gem that it more closely resembles the kind of filth you find when you snake your shower drain. We Are the Flesh is one such film.