When Spontaneous Combustion came out in 1990 it was the capper on Tobe Hooper’s remarkable two decade run of good to outright classic horror and sci-fi movies.

Owen Atlas as the evil stepson in Little Evil

Writer/Director Eli Craig's second feature Little Evil understands that life is hard for stepdads, so much so that it gives them a support group where they can share stories of disrespect suffered at the hands of their kids. Despite the fantastical stories of abuse they’ve endured and their belief that their kids are demons, for one parent in that circle, Gary (Adam Scott), that assessment isn’t born out of hyperbolic frustration. His 6-year-old stepson Lucas (Owen Atlas) is literally the spawn of Satan.

Drugs are bad, mmmk. Genetically altered drugs are--you guessed it--also bad, mmmk. Jason William Lee seems to have taken inspiration from all the drug fueled crazies inhabiting the Florida peninsula and channeled their shenanigans into the gruesomely entertaining if heavily cliched, The Evil in Us.

Slead Score: A

As BGH's own Sophie said, "Hey, hey, my boyfriend's back!"

Critters 3 is the sort of film that wears its ineptitude proudly and unapologetically on its sleeves. Like a giant, cuddly buffoon, this film stumbles through the plot admirably; without sense, purpose or any regard for good film making. And it’s better for it.

A shadowy figure lurks in the woods of Without Name

Without Name, an ethereal wisp of Irish arthouse-horror, opens by warning those with epilepsy about the stereoscopic techniques used in the film. This is no doubt necessary as these sequences, particularly the big finish, are difficult to stomach even for someone un-afflicted. Not to make light, but – while warnings are being bandied about – it might have been nice to include something urging viewers to put on a pot of coffee before pressing play.

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.

Slead Score: A

Heaven and hell are just a convenience store away.

Dramatic horror doesn't quite get as simple and low key as Toni Comas' Indiana. The filmmaker's quiet meditation on life and the paranormal rarely even feels like a horror film--save for the obvious and devious actions of a single character set on a collision course with the film's two Spirit Doctor paranormal investigators. 

Kubrick once purportedly said, “Everything has already been done. Every story has been told every scene has been shot. It’s our job to do it one better.” Such variety is at work in nearly every major studio franchise today, and successfully so. In the indie scene, however, standing apart from say – your inspirations – is a heftier task if one wishes to break any new bounds and gain recognition.