Reviews

A live television broadcast in 1977 goes horribly wrong when its host, determined to make a comeback, invites guests on his show, including a psychic, a young girl, paranormal expert, and a skeptic.

Writers and directors Cameron Cairnes and Colin Cairnes offer supernatural horror, a nostalgic atmosphere, and memorable performances. Even if it feels at times like an episode of Tales from the Dark Side or Tales from the Crypt rather than a feature, credit is due to Cameron & Colin for their skilled writing and direction, which keeps you engaged throughout with the twist on the long running The Tonight Show with Johnny Carson. The production design, capturing the essence of 1977, adds to the experience, with nods to classics like The Exorcist (1973). Glenn Richards' nostalgic 1970s music sets the perfect tone, reminiscent of upbeat classic late-night TV shows and horror scores.

David Dastmalchian delivers an excellent portrayal as Jack Delroy, selling the host character at the end of his run with depth. Laura Gordon shines as June Ross-Mitchell, delivers memorable emotional clout, while Ian Bliss commands attention as the menacing Carmichael Haig. Ingrid Torelli's performance as Lilly is memorable. The small supporting cast are great and Michael Ironside's narration adds a nice touch to the narrative.

The main single-location setting is ingenious, while the throwback vibe is a welcomed addition. That said, it borrows from the likes of The Don Lane Show (1975) and BBC's Ghostwatch (1992) mockumentary, first broadcast on Halloween night. Despite this, Late Night with the Devil has its own legs.

Overall, a brisk and enjoyable watch, successfully blending elements of nostalgia with horror. Recommended.

A police officer begins to suspect that a local husband and father, who recently underwent facial surgery due to injuries from a car accident, might actually be the same man responsible for a quadruple murder several years prior.

Director Douglas Hickox's made-for-TV offering deserves revisiting despite its notoriety following the tragic murder of pregnant wife Ellen Sherman on August 3, 1985, in Connecticut. Incidentally, the handful of writers possibly borrow elements from the novel 'The Plastic Nightmare' (1971) by Richard Neely, which was adapted as 'Shattered' (1991).

From the horrific setup in the opening alone, and crime scene photos, it's easy to see why it also graced video shops with its sleeve of a man in a leather gimp mask brandishing a knife.

Although made in 1985, it feels like the 70s, with Laurence Rosenthal's great old-school score and the veteran cast including the likes of Keith Carradine and Richard Widmark along with Kathleen Quinlan and Michael Beck.

Hickox's solid direction, along with a shot-on-location feel, wind and thunderstorms gives it weight and atmosphere. Despite it feeling like it only exists due to the success of the Halloween TV version (1981), the interesting investigation plot that ticks along nicely and makes for some compelling viewing.

While it doesn't live up to the poster and video sleeve's marketing creepiness, it's a watchable TV thriller with some disturbing elements.

While pulling together a charity benefit for wrongful deportation of illegal immigrants, publicist Eli Wurman finds himself caught up in the gritty world of deception in New York City when a woman is murdered.

Director Daniel Algrant offers an overlooked, slow-burning character drama about New York's unsavory elite. The on-location shoot is the star of the show, enhancing the film's realism. Algrant's eye offers a sense of authenticity, grounding the viewer in the reality of the characters' lives.

Jon Robin Baitz's screenplay hints at a compelling thriller, but the two main plots arguably land in mediocrity, aiming for subtlety but occasionally missing the mark. Nonetheless, the abundance of naturalistic dialogue adds to the drama rather than just aiming for crowd-pleasing moments.

Al Pacino delivers a performance that, while solid, feels somewhat routine for the seasoned actor. Pacino's portrayal is effective, yet it's a role he could perform in his sleep. Téa Leoni leaves a lasting impact, although it appears to be a recurring theme in her contract to either scream or cry with every character she portrays. Kim Basinger's intermittent role throughout the film is a welcomed addition, even if sporadically brief. Support cast are on form including Ryan O'Neal and Bill Nunn to name a few.

Overall, Algrant's staging and Baitz's narrative, along with notable performances, make it worthwhile, certainly for fans of character-driven dramas.

As the crew of the International Space Station begins to conduct research on recovered samples from Mars, they discover evidence of extraterrestrial life that proves more intelligent and dangerous than anyone ever expected.

Director Daniel Espinosa with a keen eye and discipline offers a solid addition to the sci-fi genre. The visual effects are impressive, from the crew's weightlessness and the space station itself to the presence of the alien organism. The CGI work integrates with practical effects (and finely crafted sets), offering a sense of realism and danger as the characters navigate their precarious situation.

The small cast ensemble play against type-cast adding some depth to their characters. Jake Gyllenhaal adds on screen emotion, with Rebecca Ferguson bringing authenticity and weight. Ryan Reynolds is memorable, and Hiroyuki Sanada is particularly notable.

Writers Rhett Reese and Paul Wernick drop surprising character deaths throughout to pique interest. As well as drawing from obvious space-themed movies like Alien (1979), it borrows story elements and surprises reminiscent from The Last Days on Mars (2013), but places the action in space rather than on a planet's surface. However, Reese and Wernick's script also shares similarities with Prometheus (2012) in its portrayal of questionable logic and decision-making by characters. Some actions may detract from the overall believability of the story, but the film still manages to deliver thrills and suspense thanks to Espinosa's relentless visuals and set pieces.

Despite its occasional lapses in logic, Espinosa delivers an intense sci-fi that's worth checking out.

Hunt and his IMF team face off against old acquaintances and "the Entity," a powerful rogue artificial intelligence system.

Director Christopher McQuarrie's vision and execution are commendable, ensuring that every moment on screen is filled with excitement. McQuarrie and co-writer Erik Jendresen offer a film that doesn't skimp on thrills, with each scene meticulously crafted for maximum impact. Notably, the foot chase, car chase, and train sequence which are some highlights.

Building on the success of its excellent predecessor, Fallout, Dead Reckoning Part One proves that Mission: Impossible still has life in the franchise. With McQuarrie's Dead Reckoning Part One delivering a heart-pounding, sweaty palm ride partly filled with AI twists and the staple disguise high jinks, the film is filled with world-threatening stakes and epic set pieces synonymous with the series.

Oozing screen presence, Tom Cruise returns as Ethan Hunt, alongside a stellar performance from Hayley Atwell. The supporting cast, including Ving Rhames, Simon Pegg, and Rebecca Ferguson, shines in their roles. Even smaller roles are executed with memorable precision. Cruise's acting prowess is on full display, embodying the relentless determination of Ethan Hunt. Solid lead Atwell shines throughout, bringing depth and intensity to the screen.

Overall, with its stellar performances, thrilling action, and tuned storytelling, the film leaves you anticipating the next instalment with its cliffhanger ending.

When an American submarine sinks in the Caribbean, a team of US Navy SEALs and a civilian oil platform crew is enlisted to recover the sub. With the threat of World War III looming, tensions are high with the Soviets due to the military's activities. During the perilous mission, they face danger when they encounter an alien aquatic species that has the potential to change humanity's fate.

Director James Cameron plunges viewers both topside and under the ocean into a gripping underwater adventure that stands out amidst sea of copycat films from that year.

The Abyss showcases stellar performances from its supporting cast and leads, particularly Ed Harris and Mary Elizabeth Mastrantonio, whose chemistry and emotional depth anchor the slow burning story. Notable is Michael Biehn's performance as the unpredictable and intense Navy SEAL, Coffey. Biehn's portrayal adds a layer of tension and unpredictability making him a standout antagonist.

Alan Silvestri's evocative score combined with film's groundbreaking visual effects, especially for its time, creates a sense of awe and wonder that enhances the realistic underwater world.

Cameron's superior longer special edition version of The Abyss offers additional relevant story points, scenes and character development, making it standout sci-fi drama.

Overall, it remains a timeless classic thanks to its stunning visuals, compelling performances, and immersive storytelling.

When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to save the world.

Based on Ghostbusters by Dan Aykroyd and Harold Ramis, director Gil Kenan delivers high production values, solid setups, and staging. There are great special effects, fantastic cinematography from Eric Steelberg (especially the sweeping cityscapes), and a first-class fitting score by Dario Marianelli.

Kenan and Jason Reitman's screenplay injects some on-the-money gags into a spooky enough Ghostbusters story. The change of location from Summerville, Oklahoma, to New York City, teased in the last film with more of NYC and the iconic firehouse, is more than welcomed, giving it a Ghostbusters feel.

While it lacks the punch, charm, and simplicity of the original two, like Afterlife it has enough going on, offering some emotion and top performances from the leads including Paul Rudd, Carrie Coon, Finn Wolfhard, and Mckenna Grace. Patton Oswalt is a great addition. Grace is particularly notable and holds her own against beloved Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, and William Atherton, who reprise their roles. Aykroyd and Hudson's Lethal Weapon banter is a highlight, and Murray effortlessly steals the show.

Choppy editing and the abundance of mini-marshmallow men aside, in fact, there's a little too much muddled exposition and too many characters. Kenan and Reitman shoehorn a lot of iffy subplot and unnecessary world-building shenanigans. Also, given the plot, there was a missed opportunity to bring back more ghosts from previous installments, even if briefly. Additionally, with all the appearances from past cast members, it's a pity that Sigourney Weaver's Danna Barrett and Louis Tully (Rick Moranis dragged from retirement) or an adult Oscar didn't show up.

Overall, while the storytelling may be a bit wobbly, the film shines with its great special effects, atmospheric setting, spine-chilling moments, and a plethora of one-liners. These elements set the stage for another adventure with the Spengler family and gang, which would be perfectly proton-pack welcomed. Recommend.

Madame M, kidnaps forty pre-teen girls to train them as the world's most deadly assassins. But as adult's the highly sought after killers main goal is to eliminate the person who scarred them.

Director Tony Ching offers a mix of compelling elements. While the film presents great action setups and an intriguing concept, it also includes some hard-to-watch abuse scenes that may unsettle viewers.

The performances by Maggie Q, Anya Wu, and Daniel Wu add a little depth, enhancing the overall rushed production. Maggie Q stands out, showcasing her talent in action sequences and dramatic scenes.

Despite its flaws, Ching delivers an engaging high concept. It's not just sexy, naked killers, with its blend of intense action, suspenseful moments, and strong performances makes it a worthwhile watch for those seeking a mix of adrenaline and drama.

A cockroach-spread plague threatens to destroy New York's children. Trying to stop it, entomologist Susan Tyler creates a mutant breed of insect, but unwittingly unleashes a mutant type that can mimic humans.

Despite some infamous behind the scenes wrangling with the producers director Guillermo del Toro's craftsmanship in this 1997 offering is commendable with him masterfully creating an atmospheric chiller. Guillermo doesn't shy away from delivering stomach-turning scenes, showcasing his knack for blending horror and suspense.

The performances from the lead cast members including Mira Sorvino and Jeremy Northam are solid, familiar faces like Charles S. Dutton and Giancarlo Giannini add depth to the narrative. Josh Brolin, F. Murray Abraham as Dr. Gates and Norman Reedus also appear. Albeit some characters feel a tad underdeveloped. Amongst the tension and action setups, thanks to some smart writing, Sorvino is memorable here as she mostly plays against the usual lead in peril tropes.

The film's pacing does have its ups and downs, occasionally affecting the overall flow. That said, there's convincing special effects - insect monsters, and unborn things in dark places, combined with brooding shots of dank, cluttered spaces that are accompanied by a fitting creepy score by Marco Beltrami.

Overall, despite some shortcomings in pacing and character arcs, Mimic stands as a testament to del Toro's directorial prowess. It's a film that immerses you in its eerie world, leaving a lasting impression with its scary and unforgettable moments. Recommended.

A group of spirited cheerleaders find themselves in the crosshairs of a serial killer amidst the isolation of a remote summer camp.

Cheerleader Camp, also known as Bloody Pom Pom, is a spirited romp through the realm of slasher cinema. Director John Quinn offers a competent mishmash of horror elements, drawing inspiration from A Nightmare on Elm Street with its many dream sequences, Friday the 13th, and Sleepaway Camp. However, what sets it apart is its distinct 80s sexually suggestive charm, with hints of Porky's, Revenge of the Nerds and Screwballs embracing nakedness at every opportunity with unapologetic Slumber Party Massacre-like flair. This blend of horror, breakdancing, cheerleading routines and titillation creates a unique atmosphere throughout.

Lead by the captivating performances from Betsy Russell as troubled Alison, Teri Weigel (as Pamela Bently) and Rebecca Ferratti (as Theresa Salazar), the film is not just a showcase of their acting prowess but also their undeniable beauty, adding an extra layer of allure to the movie. Lucinda Dickey, known for her role in Ninja III: The Domination and Lorie Griffin of Teen Wolf makes a notable appearances, further enriching the cast with their presence. Cult actor George 'Buck' Flower (Back to the Future, They Live) and as sun bathing Suzy, Krista Pflanzer of Electric Blue fame also appear. Love interest Leif Garrett and funny Travis McKenna also deserve a mention.

Overall, despite its reliance on familiar tropes, Cheerleader Camp manages to entertain with its energetic pacing, kill count and playful execution. It doesn't take itself too seriously, embracing its campiness while delivering thrills and chills in equal measure. With its blend of beauty, horror, and saucy charm, Quinn offers a nostalgic trip back to the 80s, making it a delight for fans of the genre.

Spurred on by revenge as Paul embraces Fremen ways, he must battle against all odds while wrangling with a Fremen prophecy that could change Arrakis and its people forever.

Director Denis Villeneuve's meticulous attention to detail and his ability to balance grand spectacle with intimate character moments elevate the adaptation of Frank Herbert's work to new heights. Although Dune didn't stand on its own, thankfully, the studio greenlit Dune Part Two. It's an epic continuation that masterfully explores the intricate dynamics of power, destiny, and familial bonds.

Interestingly, Timothy Chalamet's portrayal of Paul Atreides echoes at times Oscar Isaac's depiction of Duke Leto Atreides, making you buy into their father-son relationship. Chalamet gives a powerful performance, conveying the weight of his responsibilities, drawing viewers deeper into the rich tapestry of the Dune universe.

Along with the score, the visual effects make it an immersive experience, from the vast landscapes of Arrakis to the intricate designs of the sandworms. Oozing screen presence, leads Stellan Skarsgård, Dave Bautista, and Austin Butler add a genuine sense of danger. Along with Zendaya, Rebecca Ferguson, Josh Brolin, and Charlotte Rampling, Javier Bardem's compelling performance as Stilgar adds depth to the ensemble cast. As well as the supporting cast leads Léa Seydoux, Florence Pugh, and Christopher Walken are notable. Also, it was nice to see Babs Olusanmokun 'fittingly' return as Jamis even if briefly. Jason Momoa and Stephen McKinley Henderson are missed even if their absence is expected.

Overall, with its gripping storyline, stellar performances, and stunning visuals, Villeneuve's offering solidifies itself as a great piece of science fiction cinema, but like the first Dune, it leaves viewers eagerly anticipating the next chapter.

Life on a Saturday night in St. Cloud gets wackier with hijinks and shenanigans as the evening progresses.

Written and starring Al Franken and Tom Davis (known for 'Trading Places' and 'SNL'), director Dennis Klein does his best with a script that required just a little more polish. Surprisingly, Dan Ackroyd also acts as executive producer on this coming-of-age drama comedy, which is a broken-up tale. The main relationship of Diane and her jock boyfriend plot isn't focal enough, the hilarious father date, the babysitting house party, ear-piercing thief subplot, and Diane's brother using 'The Great Escape' to help him track down a robber. Even if some outcomes are unexpected, Franken and Davis' subplots are not rounded and don't intertwine enough to make for a clever romp, but they are nonetheless entertaining.

Stunning actress Nan Woods, channeling Molly Ringwald, does her best with what she's given, knocking it out of the park when it comes to talking about her mother. Chelcie Ross as Dad Ludhal is notable as Diane's father on his first date.

Backdropped with a great soundtrack, One More Saturday Night's setups are there, with a few laugh-out-loud one-liners littered throughout. But the execution and pacing is bumpy, with the feeling that it has a lot to say, but says nothing at all. That said, the small town vibe, the uncensored, innocent lack of political correctness of the 80s that means no harm is refreshing. Reminiscent of 'Secret of My Success,' 'Career Opportunities,' 'Bachelor Party,' and 'Adventures in Babysitting,' to name a few (only on a lower budget), making Klein's offering an interesting time capsule of sorts.

Overall, while Klein's obscure, forgotten comedy is hit and miss, it oozes nostalgia and 80s vibes, and worth watching for that alone.

Chicago police officer and a reptile expert track an enormous, ravenous man-eating alligator flushed down the toilet years earlier.

Alligator, the 1980 creature feature, emerges as a delightful amalgamation of suspense and wit, borrowing elements from the iconic Jaws franchise, Grizzly (1976), Orca (1977) and Piranha (1978) while carving its own niche in the realm of creature horror. Director Lewis Teague balances the film's tone with equal parts tension and humour, that echoes the best moments from "Jaws" and "Jaws 2." John Sayles script's offers smart dialogue and a sense of realism. Indeed, the film's ability to blend the dialogue with effective effects and spirited performances elevates it above mere imitation, earning it recognition as a B-level gem. Sayles' screenplay cleverly capitalises on the primal fear of nature run amok in an urban setting.

Robert Forster stars as David Madison, a detective haunted by the loss of his partner and faced with a threat doubted by others. Beyond the typical hero, Forster's personal request to address his thinning hair through running jokes in the script adds an extra layer of humanity to the character. Forster's portrayal anchors the film with a compelling performance, injecting a sense of gravitas and charisma into the narrative supported by a large capable cast including Robin Riker as Marisa Kendall, Michael Gazzo, and Henry Silva also makes an appearance.

Despite its categorisation as a 'rip-off' film in the wake of Jaws' success, Alligator stands tall as an intelligent and stylish entry in the creature horror genre. Overall, With its balance of genuine scares and tongue-in-cheek humour, Alligator proves to be a memorable and entertaining ride, deserving of its cult status among fans of creature cinema.

Chuck Steel, a no-nonsense maverick renegade cop, is pitted against a horde of vampire-like beings who feast upon the blood of those who are drunk.

Writer and director Mike Mort offers vibes reminiscent of Last Action Hero and Kung Fury in this stop-motion animated action comedy horror film. In addition to the aforementioned, the film parodies and pays homage to a slew of live-action films of the 1980s. The frame rate is so good that there are moments that'll trick you into thinking they could be people in masks. It's a work of art (geared for adults) with a technique that equals, if not surpasses, similar contemporaries. Although some of the voice work is a little bumpy, the majority is on point including the likes of comedians Jennifer Saunders and Paul Whitehouse.

It's on an epic scale with hundreds of characters and creatures, and dozens of scale-model sets. The craftsmanship of the production is clearly there for all to see. There are laughs to be had amidst the gore, explosions, and hails of bullets. It's wild, outlandish, and over-the-top, with mind-blowing animation that's blood-soaked and oozing fun throughout.

Fantastic work, as well as an enjoyable film. Highly recommend.

A criminal multimillionaire, passengers, and crew bound for the Cayman Islands are terrorized by an escaped test subject mutant cat.

Director-writer Greydon Clark offers a novel idea that may have been better set at night, as the daylight scenes take away some much-needed atmosphere, if only to hide some of the dodgy practical special effects. What starts off as hopeful B-fodder, becomes very messy, despite its sparseness. Oddly, it would appear that the far superior 'Friday the 13th Part VIII: Jason Takes Manhattan' borrows plenty of beats from Clark's 'Uninvited.'

There's no getting away from Travis Clark & Tom Gunn's bumpy editing, the thin script, and various clunky production issues; even lines are repeated unnecessarily taken from multiple takes and the like, possibly to pad out the running time.

Both Toni Hudson as Rachel and Clare Carey as Bobbie (usually bikini-clad) are notable. Alex Cord, as sleazy Walter Graham, is memorable. Acting veteran George Kennedy seems as surprised to be in the film as we are to see him. Clu Gulager is unrecognizable but gives an outlandish performance as assassin Albert. The unwanted attention by Cord's Walter is genuinely creepier than some of the jump scares; in one scene, Carey in her aerobics attire offers a scene-stealing performance when dealing with a Walter's advances.

The shortcomings of the 1980s effects are much better and more ingenious than the majority of poor CGI seen over the last 20 years. Also, the Halloween-like theme and much of the score by Dan Slider are highlight of the film. However, with no irony, the true scene-stealer throughout is the excellent cat.

The main issues aside, including its unevenness, is that it lacks anyone to really root for, as anyone with a hint of likability is picked off early. Still, it's good 80's B-movie fun, but far from a cult classic.

A settlement on a distant moon finds itself threatened by a tyrannical ruling army, strangers from across planets band together to stop them.

Director Zack Snyder hodgepodge draws inspiration from ancient Rome to Old English epic poems, real-world history, and more, echoing Westerns, Seven Samurai, Tolkien, and Frank Herbert, among others. Borrowing elements from Star Wars, Chronicles of Riddick, and Battle Beyond the Stars, Snyder excels in blending this diverse mix into a visually hard-hitting, coherent, and entertaining ride that holds potential for the beginnings of something special.

Sofia Boutella as Kora is notable, alongside the likeable cast ensemble. Ed Skrein as antagonist Admiral Atticus Noble makes for a memorable character. Both Charlie Hunnam and Michiel Huisman deserve a mention. Anthony Hopkin's dulcet tones as the voice of mechanical knight of Jimmy is a fitting addition.

Granted, there are moments of overkill, along with lingering slow-motion scenes. While the costumes are intricate and beautifully made, they never distinctly define the differences between the players, especially in the case of the rebels Nevertheless, with a few twists and an abundance of flashbacks and exposition thrown in, the synergy between acting, special effects, Tom Holkenborg's score and staging contributes to the film's overall compelling and immersive nature.

Highly recommended science fiction -take a look for yourself.

I'm the post-apocalyptic Bronx, evil androids and humanoids engage in a war for supremacy.

Director Vanio Amici's Bronx Executioners, released in 1989 but feeling like a B-Movie from 1982, extensively uses footage from the 1984 film The Final Executioner. The Bronx setting, despite claiming a post-apocalyptic vibe, bears little resemblance to the actual Bronx. It lacks the fun, futuristic elements, and coherence found in films like 1990: Bronx Warrior, Rats: Night of Terror, and The New Barbarians, among others. The gunplay, dog attacks, staged fights, and severed heads contribute to the film's chaotic mix.

Woody Strode's reused footage as Sam from The Final Executioner now portrays the character Warren, while Alex Vitale, previously the Russian in Strike Commando, plays Dakar, aspiring to be human. Margit Evelyn Newton, known for Hell of the Living Dead, is the only actor from the first film with new scenes in the second. The inclusion of saxophone in the last act attempts to evoke a Blade Runner vibe. Notably, Paolo Rustichelli's music, borrowing much from The Terminator (1984), stands out as one of the film's highlights.

Overall, Bronx Executioners feels like a poorly assembled remake of 'The Final Executioner,' lacking coherence. It may appeal to those who enjoy sporadic scenes of men rolling and falling around.

The Fall of the House of Usher recounts both the rise to power of Roderick Usher, the powerful CEO of a corrupt pharmaceutical company, and that of his sister, Madeline Usher, along with events leading to mysterious deaths.

The eight episodes of 'The Fall of the House of Usher' are wonderfully directed by either Flanagan or Michael Fimognari. Fimognari's cinematography throughout the series adds plenty of eerie atmosphere to the expertly crafted sets and locations.

Very loosely based on various works by Edgar Allan Poe, the series adapts mostly unrelated stories and characters by Poe into a single narrative set from 1953 to 2023. The 50s, 70s, 1980 segments capture the feel of the periods from the sets to the costume design.

For fans of Flanagan's previous works, there's effective jumps scares littered throughout and also some great tension building dialogue, with a few twists thrown in. There are a few deaths that come across as a bit on the nose, which could have been portrayed more subtly, cutting a little earlier and leaving more to the imagination. The social commentary and supernatural element of the narrative seemingly borrows from the novel Shadows of Dismemberment. Given the overall quality, a few actor's performances debatably don't do the Flanagan's script justice. That said, the performances, particularly those of the mesmerizing Bruce Greenwood as Roderick, Carl Lumbly as Auguste Dupin (with Malcolm Goodwin as young Dupin), and the fantastic Marks Hamill as Mr. Pym, are all outstanding. Mary McDonnell as Madeline and Willa Fitzgerald as the younger Madeline, along with the mysterious Carla Gugino and Katie Parker as Annabel Lee, Roderick's first wife, are all notable. Both Michael Trucco and Kate Siegel give the ensemble cast a run for their money.

Overall, the production values and direction elevate the supernatural elements, selling the dark, intriguing, and binge-worthy series, marking a return to form for Flanagan.

Gabbie and her son enlist a motley crew of so-called spiritual experts including a tour guide, a psychic, a priest, and a historian to help rid their home of supernatural squatters and exorcise her newly purchased mansion.

Directed by Justin Simien, the film offers a Halloween-esque take on the Walt Disney Haunted Mansion attraction, with a likable ensemble cast that makes the ride an enjoyable one. It manages to strike a balance between being creepy and funny, especially for those familiar with the Disney attraction, Haunted Mansion (2003), and the fantastic Muppets Haunted Mansion (2021).

Lakeith Stanfield, Rosario Dawson, Owen Wilson, Danny DeVito and Jamie Lee Curtis to name a few elevate the story and comedy of a haunted old dwelling, and Jared Leto's portrayal of the Hatbox Ghost adds to the supernatural highjinx. The visual effects give it an interesting look, and the script surpasses expectations by establishing a solid emotional foundation for what could have been a gimmick-driven haunted house movie. It's a dark family film with substance and plenty of humour.

Overall, Haunted Mansion delivers for those who have an affinity for the source material on ride on which it's based . However, Disney's marketing, questionable timing of its release and negative critical reception seem to have robbed it of any love it might have deserved.

Paul Sturges returns to a small town to check on an offshore oil rig while incorporating a family vacation. However, the areas economics have taken a turn and their tranquil retreat is hijacked by a colossal megalodon shark.

Beyond directors Adrian Grünberg captivating visuals, Boise Esquerra's screenplay delves into meaningful ecological and spiritual legends themes, making it more than just a creature feature. Although a little talkie and preachy it highlights the importance of preserving our environment and respecting the sacredness of nature. It's weaves these themes into its storyline, along with the importance of family.

It's a little too human-focused, but includes periodic scary vision interludes, along with the few and far between shark setups. Leonardo Heiblum and Jacobo Lieberman's score adds impact to the proceedings, the effects are good considering the budget, especially the rig itself.

Josh Lucas delivers a great performance, along with notable Fernanda Urrejola and Julio Cesar Cedillo. It's a pity that the film is unapologetically downbeat in its resolution. While the somber tone serves the narrative well, it might leave some viewers hoping for a more optimistic outcome.

Overall, Black Demon combines some interesting underwater visuals, and an eerie cautionary tale of manmade ecological disasters, reminding us of the importance of the ocean's preservation.

In 1885, Jonathan Harker goes to Count Dracula's castle, pretending to be a librarian, but soon realizes he's in over his head. His only hope lies in the hands of Doctor Van Helsing.

This eerie Technicolor film, produced by Anthony Hinds and directed by Terence Fisher, provides a gloomy Victorian setting for a revamped story by Jimmy Sangster. The haunting music by James Bernard and Jack Asher's foreboding cinematography add to the atmosphere.

Christopher Lee delivers an unforgettable performance as the charming yet menacing Dracula, while Peter Cushing portrays Doctor Van Helsing, the intelligent, noble, and courageous hero, perfectly. Their clash between good and evil makes the film timeless, and the showdown, complete with impressive effects for its time, is unforgettable. This film not only solidifies the legacies of these iconic actors but also breathes new life into the Dracula mythos for a new era, leaving an enduring mark on the horror genre.

A must-see for horror fans.

After being shot down over Afghanistan, Royal Air Force pilot Lt. Kate Sinclair seeks shelter within an abandoned underground bunker, unwittingly reawakening lethal hybrid creatures that are part human and part alien.

Director Neil Marshall takes viewers on an interesting but bumpy ride through war-torn Afghanistan. Luke Bryant's cinematography, especially of the exteriors, is nothing short of stunning, capturing the desolate beauty of landscapes with breathtaking precision. The stark, rugged terrain against the mysterious underground bunker creates a visually captivating contrast.

While it boasts some rousing visuals and snappy dialogue from Marshall and lead actress Charlotte Kirk's script, there are moments when the on-screen shenanigans feel a tad too cheap and staged. The sterile aesthetic occasionally robs the film of its raw intensity, especially some creature design. Despite Marshall's impressive ability to make small budgets feel big, this film doesn't reach the heights of Doomsday, The Descent, Centurion, or Dog Soldiers.

The small cast ensemble does a good enough job, but the ragtag group of different army nationalities aimed at highlighting their differences and coming together at times merely detracts. Jamie Bamber surprisingly chews up the scenery, and Kirk does her best Milla Jovovich impression as pilot Sinclair's harrowing journey unfolds. Although not truly memorable, the brisk pacing delivers a splattery action with a few gory moments.

Overall, The Lair may not reach the greatness of Marshall's previous works, but it's a satisfying enough genre piece worth watching.

Set in the lawless town of Tombstone, Arizona, during the late 1800s, the film follows the Earp brothers as they confront the violence and chaos of the Wild West.

Directed by George P. Cosmatos, but reportedly mostly by Kurt Russell, behind the scenes shenanigans aside, Tombstone skillfully captures the serious tone of the genre, retelling classics like 'OK Corral' and 'Hour of the Gun' with more weight. Kevin Jarre's writing takes historical liberties combined with dramatic storytelling, and William A. Fraker's cinematography immerses viewers in the tumultuous world of the Old West.

The standout feature of Tombstone is its stellar ensemble cast, including standout performances by Michael Biehn and Powers Boothe. With some superb staging and setups Kurt Russell's Wyatt Earp and Val Kilmer's Doc Holliday are unforgettable, with Kilmer's performance deserving of an Oscar. Their on-screen chemistry adds depth and emotion to the film, while the supporting cast, including the likes of Sam Elliott as Virgil and Bill Paxton as Morgan, further enriches the story, making Tombstone a character-driven masterpiece. There are also a number of familiar faces like Stephen Lang, Jason Priestley, Michael Rooker, Billy Zane, and Charlton Heston, to name a few.

Overall, Tombstone remains a must-see for fans of Westerns, anchored by remarkable performances from its cast. This film secures its place as a timeless classic in the Western genre.