Horror movies and beer - the only two viable options for entertainment in the wastelands of Nebraska as far as he's concerned. When he's not in the theater he's probably drinking away the sorrows of being a die-hard Chicago Cubs fan.
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.
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.
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 long running franchise gets an ambitious makeover in the hands of creator Don Mancini. Cult of Chucky is quite literally the most insane installment to date, though it still suffers from some of its generic pitfalls.
Like its namesake, Tyler McIntyre's debut entry to the horror comedy world is a stitched together concoction of genre tropes and recognizable titles. Patchwork tramples all over some already fairly stepped in tracks but manages to be just fresh enough to trek those footsteps all over again.
The Limehouse Golem is a whodunit with surprising social commentary amongst the classy decoupage of English theater. I don't know if it's the foggy streets of old England or the posh accents but it has earned the distinction of being 2017's most 'pinky out' horror film.
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.
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.
See Last Man Standing's Kristen Baxter like you've never seen her before--as a second hand clothing junkie. Simon Rumley continues to rummage around the cinematic scraps with Fasionista--conjuring an impressive style that never quite stitches itself together properly.
There is a brilliant mind at work throughout the quirky and irreverent silliness that is Dave Made a Maze. Director Bill Watterson has undeniably constructed a cardboard classic in the making with a foundation that's far more stable than its raw materials.
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