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.

When was the last time you finished a movie and could say genuinely, "Ya know, that movie needed more Stephen Dorff."?

Directors Julien Maury and Alexandre Bustillo have accomplished something truly special--delivering a Leatherface movie that barely has any business calling itself part of the TCM universe and a surprising need for even more Stephen Dorff. Both of those things seemed fairly difficult to accomplish--well except that most of the franchise's sequels barely have the right to call themselves part of the beloved Tobe Hooper classic. 

The monster meets his mate in Bride of Frankenstein

Bride of Frankenstein, the 1935 sequel to the Universal monster classic, opens with a postmodern device undoubtedly familiar to lovers of horror literature. On a dark and stormy night, we find three of England’s most heralded writers: Lord Byron, Percy Bysshe Shelly, and Mary Wollstonecraft, seated around a roaring fire discussing, among other topics, fear. It’s a scene reminiscent of the one that famously inspired the creation of the 1818 novel upon which the first film was based.

Just a few months ago, I sat down to review Joel Schumacher’s 1990 Flatliners in anticipation of its upcoming remake/reboot/reimagining. As a fan of the original, I was cautiously optimistic. I re-veiwed and then reviewed the film and my cautious optimism only grew. But then I saw 2017’s Flatliners, directed by Niels Arden Oplev...and it was not good.

Sometimes with a little scream you need some laughs. Blumhouse’s latest, Happy Death Day, commendably nods to slashers and satires like Scream and The Cabin in the Woods. Though not quite as groundbreaking as those titles, the film certainly delivers on chuckles by poking fun at well-established (and relatively dormant genre) slasher tropes. What makes it engaging, however, is its choice to zero-in on clever characters and precise plotting to deliver an exceedingly good time.

Timothy Hutton is plagued by his dark side in The Dark Half

On the page and the screen, The Dark Half is Stephen King at what could be called his most stereotypically “Stephen King.” It’s a story those unfamiliar with the author are unknowingly referencing when they crack jokes about how all he does is write about authors in remote locations being besieged by the supernatural. While this reviewer happens to think King has more range than he’s credited with, this story is certainly in his wheelhouse and he mostly nails it.