This week's episode of Ash finds our hero and his newly-discovered daughter both dealing with the death of his wife, her mom, in their own ways. While Brandy is trying to sort out what to make of her life now that her mother is gone, Ash is busy re-killing her.

Demon House is a movie four years in the making. From the widely documented 2014 happenings that took place in a Gary, Indiana home, to the delayed release of ghost hunter Zak Bagans' labored documentary (which hits theaters and VOD March 16, 2018). Like every paranormal investigation that's ever been documented for media consumption your enjoyment will hinge on whether or not you're a believer in the paranormal and if Bagans is a decent enough huckster to shake you're doubts.

Horror filmmakers have a unique opportunity. Wtih several subgenres at their disposal they have the option to morph any franchise into a completely different experience. However, it can be tricky for a well-established series to step outside of its norm and explore a different area of horror. With risk can come great reward, though, and Johannes Roberts' sequel to 2008's The Strangers is a clear-cut deviation from the home invasion subgenre that introduced us to the three masked psychopaths.

In the 80s the only slashers more deadly than Jason Voorhees or Freddy Krueger were the The Motion Picture Association of America (MPAA), which determines the content ratings for most movies that hit U.S. silver screens.

Veronica and her siblings perform a seance in "Veronica"

Even without the benefit of a cushy, post-Super Bowl release slot, Veronica, the Spainish tale of supernatural shenanigans released stateside by Netflix, has managed to generate quite a bit of buzz on some corners of the web. Written and directed by Paco Plaza of Rec series fame, the movie takes viewers to Madrid circa 1991 where, after the death of her father, 15-year-old Veronica (Sandra Escacena) plays caretaker to her three younger siblings as her mom works to make ends meet.

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.

In its short run time, Ash vs. Evil Dead has had its fair share of memorable set pieces. Like the films that came before it, this show is at its best when it’s gooey and when the effects are practical.

An unfortunate side-effect of the era of “Peak TV” is showrunners not knowing when to call it quits. On a certain level, we can’t blame the writers, directors, and actors for keeping these shows going indefinitely.

No matter if it's a dead serious grimfest or straight schlock it seems every time a new zombie movie comes out there is a quest for relevancy. From inception, filmmakers have to choose how they will answer an audience that has "seen it all before." I'm not completely willing to say Dead Shack is here to buck that now longstanding tradition, but it's Amblin-esque zombie shenanigans are just different enough for those who've abandoned ship on The Walking Dead and written off countless brain scarfing excursions.

Looking out a the harsh landscape of Jupiter's moon Europa in Europa Report

Europa Report is a science fiction thriller that, for two-thirds of its runtime, derives said thrills from the process of discovery. It’s a movie that lavishes in the science of science fiction, paying loving tribute to the pioneer spirit and thirst for discovery that motivates otherwise sane people to strap themselves to a rocket and blast themselves into the great void of space.