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.
The growing popularity of escape rooms, extreme haunted houses and their kin have lead inevitably to filmmakers working the concept into the cinematic playground. It's not a bad idea by any means, but the thrills these attractions offer potentially do not translate to an audience unless the mystery too engages them in a coherent manner. Ruin Me offers up the potential to do all of those things but too often twists its way out of sync before unraveling completely.
Off-brand Tarantino may as well be a genre of its own at this point. When Tarantino turns in something less than his highest standard it's still better than your typical Hollywood fair. When a filmmaker turns in a somewhat lackluster work that is Tarantino-esque its mediocrity is much more pronounced. Drew Goddard's triumphant return to the big screen, Bad Times at the El Royale is not damningly mediocre, but it's discount Tarantino vibe looms ominously over the nearly 2 and a half hour behemoth.
A series of arresting visual and sonic landscapes, Mandy often feels like a 2 hour trippy music video you'd see playing on a computer desktop in a darkly lit room through a cloud of smoke, lit by a blacklight. In such a setting, under the influence of any number of substances, it's easy to see the appeal. Stone cold sober Mandy may only be accessible to a very specific audience that's forgiving enough to overlook its masturbatory vibe.
As Jeffrey Wright's character Russell Core posits early in Jeremy Saulnier's latest, "I'm here to help if I can. To explain this, if I can...", the words stick like the icy Alaskan snow on Mr. Core's borrowed boots. He is searching for a missing 6-year old boy at hands, or paws if you will, of a pack of wolves. These simple words serve as a mission statement for the remainder of Hold the Dark, because while the premise of Saulnier's film can be condensed simply enough, the ride from opening to end credits isn't nearly as such. Though, it's debatable if Mr.
Placing children, particularly babies, in peril in any genre tends to be overtly manipulative. Sure, there's a subsection of audiences who don't have the same emotional connection to the fictional well-being of the young, and it's likely that cross-section would have no interest in Brandon Christensen's Still/Born. But those inclined to worry immensely about the safety of little ones are in for 90 stress-filled minutes.
It's safe to say The Predator's path to the big screen was not a smooth one. The production was marred by various issues including reshoots capped off by the emergence of a final hour casting controversy prior to release. Even still, production issues and moral stances aside, Shane Black's latest entry into this continuously rocky franchise stunk of muddled intentions from the get-go, an obstacle that foregrounds the filmmakers' questionable vision in The Predator'sfinal moments.
Sleep paralysis is a fascinating subject. The terror that many experience is a phenomenon that, for this reviewer, has not been adequately explored cinematically to this point. With the release of Mara, which follows an ancient demon who persistently torments people in their sleep before viciously killing them, the topic of sleep paralysis' full potential remains untapped.
Behold, the untapped well of horror....real estate. Specifically the much talked about but rarely fully understood housing crisis in 2008. While there are true story dramedies starring multiple A-Listers to fulfill your cinematic mortgage yarns, here is the debut film by longtime assistant director Jonathan Watson, is here to whet the appetite of those craving an unlikely spree killer farce. Arizona is ridiculous and a tad overlong, but is ultimately a wildly entertaining darkly comedic thriller.
It's tough to say, unless you've recently revisited the Puppet Master series, that the franchise deserves icon status. The puppets themselves, and their many talents, indeed have a lasting impression, but the movies themselves don't seem to have the same effect for someone who watched them many many years ago as a youngster. Still, even with fleeting memories of the series it doesn't take a refresher course to recognize the latest reboot is not the Puppet Master one's foggy nostalgia might be expecting.
Summer has become a chomping ground for a shark movie resurgence. Ushered in mostly by The Shallows, followed a year later by 47 Meters Down, and now 2018 brings us The Meg; an adaptation of Steve Alten's series of novels that might as well have been dubbed "Jaws for Dummies." However, nearly two hours of giant shark shenanigans pales in comparison to the film's true wonder of nature...a smiling Jason Statham.
Get Your BGH Fix
Check It Out
Run for Fun and Win Some BGH Gear
Join us for the first ever BGH Virtual 5K during the last weekend of October!
Universal Monsters In Comics
Join Andrew in his exploriation of the ubiquitous Universal Monsters' appearances in comics
Horror Through the Decades
Whether you're a dusty Baby Boomer or a filthy Millenial, you'll no doubt appreciate Andrew's look back into the best horror TV shows since the 1950's
Watch Horror Movies. Drink Drinks.
One Thursday a month, Sophie lays out the rules for a horror film drinking game! Browse our past entires and be on the look out for new ones.
The United States of Horror
Tag along as our spooky patriots give you a tour of the greatest horror settings from around the U-S-of-A