Terror Blurbs! Part II (An Ever-Expanding List)

Plot: A trio of mercenaries on the run hide out in a commune that is bound not only to one of their pasts but to something unspeakable.

An excellent slow burn character piece that leans into African culture for its horror and is all the better for it. Fantastic locations, a great cast, and stellar music only make it shine even more. Saloum is a movie about revenge, destiny, belief, etc, and it handles all deftly while cooking up suspense until the moment things take a turn into the uncanny. Great, underrated material.

Plot: A group of thieves on the run hide out in a farmhouse which, much to their dismay, is populated by a particularly demented brood.

Let's be real, this has knockoff b-film written all over it but that doesn't mean there isn't fun to be had. From a structure that plays like From Dusk Till Dawn by way of The Texas Chain Saw Massacre to elements that flirt with torture porn fare like Saw and The Human Centipede, the flick unabashedly dances in familiar territory that should make any lover of bizarro 80's slasher and gore flicks plenty happy. It's not perfect(and it doesn't flinch in its innate silliness) but it is gonzo and provides an solid serving of grue and mayhem once the dust settles.

Plot: A man is locked both into a public restroom and a ritual of cosmic importance with an unfathomable entity that resides therein.

For a film that largely depends on a single location and a couple of actors (one of which is not onscreen), Glorious mounts quite the competent punch as an entry into Lovecraftian/cosmic horror. Making potent use of dark humor and a constant dialogue exchange, the flick paints a picture for the viewer that could serve as a pretty solid introduction to Lovecraftian concepts for any novices while providing clever fun to anybody well-versed in the subject. It also builds up quite nicely and comes with a couple of twists that play with expectations quite nicely. A surprisingly good example of a low budget being used to your benefit. Funny, weird, and fresh.

Plot: A pair of siblings become the target of a creature that comes out to hunt and replenish itself every 23 years.

Something of a classic despite the behind the scenes controversy with its director. Armed with a memorable villain and a clear cut set of rules and aesthetics that give the whole affair a lot more heft than the average slasher. In fact, it bucks the slasher restraints with its interesting mythology and genuine tension.

Plot: A busload of teens is terrorized by the Creeper on his last night of the hunt, even as a farmer seeks him out for revenge.

Though it doesn't steep into bad territory it does wallow in the land of lost opportunity by focusing on the less interesting elements rather than those that would of provided more viewer investment. It largely devolves into something focused on the kills rather than the story and suffers for it. Still, there is some fun to be had even if it never reaches the heights of its predecessor.

Plot: A set of events that focus on the day between the previous installments as the Creeper sets out to recoup a lost part of itself.

A movie so devoid of tension that quickly becomes a frustratingly lame effort as it reveals that it has zero to offer the audience. Poor effects, godawful dialogue, a confounding focus on the LEAST interesting aspects, and, worse, absolutely no resolution to its own plot points. Horrid.

Plot: The Creeper returns to his hunt, targeting a couple who not only have something it wants but are stuck in an escape room with the creature itself.

A reboot (of sorts) that has absolutely no awareness of what it's making and is seemingly running through the most overdone scenarios in horror. Worse, the new elements it introduces are inexplicable fodder that leads to nothing. Add to all this HORRENDOUS direction, basement level production levels, and some of the worst dialogue/acting around and you have yourself a dud of epic proportions. To top it all off it's not even so bad that it becomes entertaining.

Plot: A smart and ambitious Comanche woman seeks to prove herself as worthy as the lauded hunters in her cultural hierarchy but her opportunity to undergo a rite of passage brings her into the path of a creature on the hunt.

Meant as a reboot and prequel to the troubled Predator series, "Prey" manages to give the viewer an experience that both feels refreshing and gives fans the foundational elements that made the first entry to memorable. While it keeps a simple structure it gives the viewer a bit more substance by subverting expectations, from the position of the protagonist being an underdog all the way to the title of the film. If the original movie dripped glorious machismo, this one oozes with unexpected cunning for a satisfying conclusion that both honors the status quo and yet feels distinctly its own thing. A very likable cast, an eye-poppingly badass Predator, some creative brutality, and a distinctive score are all winners. Fair warning, some of the animal effects (bears, mountain lions, etc) are not up to cinematic snuff but all this is forgiven in light of a great entry.

Plot: A ethically questionable paramilitary group on an extraction mission come into the crosshairs of a monstrous, otherworldly hunter with his own twisted perception of honor in the kill.

An testosterone fueled fusion of sci-fi, action, and horror, "Predator" is also a stone cold classic in those respective genres. Straight to the jugular in its approach, packing gorgeous special effects work and gobs of memorable characters/moments, the flick has more than earned its place in the pantheon. To boot its one of megastar Arnold Schwarzenegger's greatest roles and offered up a villain whose presence alone has carried fans through many lesser sequels. An all-around classic.

Plot: An assassin descends into a cursed land carrying out a mission of destruction but he is only one of many and what ensues will reveal unsettling implications.

An extraordinary visual achievement that took multiple decades to achieve, "Mad God" could have solely relied on its stunning aesthetics and genuine atmosphere. Alas, this gorgeously crafted blend of a multitude of special effects crafts ends up packing a truly unnerving punch of cosmic dread that leaves the viewer contemplating the hopelessness of our existence. Surreal, symbolic, and drawing inspiration from a variety of sources to craft a tale both simple and engagingly complex, the film feels like the results of a creative orgy that includes David Lynch, Alejandro Jodorowsky, Dave Mckean, Stanley Kubrick, and Ray Harryhausen....among others.

Plot: Aliens bearing a twisted resemblance to clowns descend upon a small town to lure its people into their cotton candy web.

"Killer Klowns..." achieves exactly what it sets out to be, namely a picture that evokes the campy, sometimes overly-serious(in this case to comedic effect), eerie yet nonsensical nature of 1950's sci-fi movies. Packing some very impressive (and delightful) effects, tongue-in-cheek dark humor, and a gaggle of creative kills, this silly romp will please lovers of b-movies with a strong visual punch.

Plot: A gifted child and her father are on the run from the a government agency responsible for her destructive abilities.

This readaptation of Stephen King's novel of the same name proves an ultimately flat and wasteful exercise. Severely lacking any forms of credulity, tension, or atmosphere, the film wallows in mediocrity for the bulk of its runtime before pulling off a "darker" twist ending that feels utterly unwarranted given the poor character work/motivations throughout. Those seeking loyalty to the source material will be grossly disappointed but so will those looking for merit earned on its own.

Plot: A pair of newlyweds return to the groom's ancestral home where the bride is haunted by grisly visions tied to the family's tarnished legacy.

Heaving bosoms, some Hammer Studios staples, a gothic aesthetic, and some ghastly and ghoulish happenings, all to be expected of an Amicus produced movie. Modern audiences probably need not apply, as the Amicus formula (much like Hammer's)is pretty much one that is going to please only those that are fond of this type of fare. Far from being their worst offering but not their best either, this film spends a bit too much time on the haunt before ramping up for a pretty neat (if far too telegraphed and thus predictable) ending. Still, the Amicus charm, the beloved tropes, and the style will feel like home for those that loved this era of horror.

Plot: A mysterious set of circumstances lead to the disappearance of a woman's daughter within the confines of their new home, leading to the unraveling of a ominous mystery.

Though it starts off rattling a laundry list of tropes, "The Cellar" soon takes a sharp right turn into genuinely intriguing (and rarely explored) thematic territory. Fostering up a genuine atmosphere and overcoming some lingering genre foibles, the film ends up a pleasant surprise worthy of an audience. Just overlook the occasional lapse in logic (or in keeping an American accent) and you should be pleased.

Plot: Twenty-two years after Norman Bates' shocking crimes, he is declared rehabilitated and released back into an unfriendly, and increasingly confusing, world.

How do you follow up a monumental classic like "Psycho"? You don't but, if you're so inclined, you wait a few decades and churn out a twisty, psychological drama that reframes Norman as a sympathetic character desperately trying to make sense of the madness that surrounds him. Add a director that knows when to tip his hat to Hitch and show enough restraint as to not drag the whole affair into a bloodbath and you have a movie that, against all odds, leaves you with a desire to revisit it every now and then. This one has been increasingly appreciated as time has passed and deservedly so.

Plot: Two tortured souls seeking redemption cross paths. Alas, one is Norman Bates and his troubles soon begin anew.

There is certainly a lot to like in "Psycho III". Though it initially seems to wander back to formula, it soon tinkers with themes of spirituality, redemption, and destructive, insatiable desire. With a very different atmosphere than its predecessors (largely due to the standout score) and the tendency to be a tad more lurid, the film carves out its own identity. Despite this, the film feels a bit off with a pace that vacillates from methodical to languid and a story that feels a bit unfocused at times (often letting the themes take a back seat). Still, as far as sequels are concerned, you could do far worse.

Plot: A documentary team follows a father/daughter archaeologist duo into the chambers of a newly uncovered subterranean pyramid.

You know you're off to a bad start when the "found footage" approach the movie openly touts is abandoned time and again for convenience. Add to that insipid, incredulous, and shallow characters, irritating dialogue (if you really want to call it that), and CGI that not only looks awful but jarring in the surroundings, and you have yourself a bad time. "The Pyramid" not only shoots its gimmick in the foot but shoots itself with an utter inability to make the viewer suspend disbelief. Avoid at all costs.

Plot: A woman trapped in an unfulfilling marriage is in the midst of a complex web of betrayal, tradition, and repression until something unearthly is introduced into her life and things begin to look up.

At its core, this film is a human drama built around themes of the caustic nature of both repressed and unbound sexuality. The traditional Mexican setting brings with it an inherent cultural baggage when it comes to sexual mores which makes the proceedings feel like an equivalent to those of oppressive overzealousness in Robert Egger's "The Witch". Unlike said counterpart, "The Untamed" finds its ultimate horror in the cold indifference of cosmic terror. Shades of Lovecraft's The Color Out of Space and The Dunwich Horror are undeniable but do not overwhelm what is an exquisitely crafted and satisfying slow burn.

Plot: A horror anthology written and directed by Tom Holland, director of the original Child's Play and Fright Night.

It's safe to say that Tom Holland's heyday is long gone. Worse, it's very evident that he's lingered far too long in mediocrity and gone head first into making absolute dreck. There is as much creativity in these stories as there was a budget to bring them to life...that is to say none. You've seen every single one of these tales before in far better iterations and have likely been spared the abominable dialogue, the low-tier effects, and the gobsmacking running time (It rings it at almost two and a half hours). You're time is best spent elsewhere...anywhere but on this. I find this a karmatic irony for a man that openly railed against the rise of art-horror and bemoaned the days of "fun horror". FUN THIS IS NOT!

Plot: A man returns to his ancestral home which exacts an inexplicable desire in him to remain much to the woe of his increasingly alienated wife.

"Sacrifice" is a movie that makes a proud claim of its Lovecraftian influences out the gate. Unfortunately, it feels more like a checklist of tropes being marked off with an utter lack of nuance. Lacking atmosphere or subtlety, stocked with actors of questionable quality, and packing weak, exposition heavy dialogue, the film will grossly underwhelm fans of Lovecraftiana. Worse, it terribly misrepresents the very sub-genre it tries to honor to any casual viewers. "Sacrifice" ultimately comes off like a poor man's version of Shadows Over Innsmouth.

Plot: A disgraced actor enacts his revenge on the critics that brought on his fall from grace with the help of the dregs of society.

A darkly comedic proto-slasher of the most enjoyable variety is this! Watch Vincent Price chew scenery in a variety of guises and situations with darkly delightful aplomb and revel in the cheeky jabs on film criticism. Bursting with creative (and hilarious)deaths, morbid melodrama, gallows humor, and clever self-awareness, "Theater of Blood" is a gleeful romp!

Plot: A group of policemen investigating a disturbance inadvertently step into a mind-breaking crossing of dimensions.

This Turkish plunge into surreal, Lovecraftian madness will scorch its shocking moments into your mind with unforgiving relish. Much like the original "The Texas Chain Saw Massacre", this feels less like a traditional film and more like you're strapped into a hellish rollercoaster, helpless to experience the horrors to which the protagonists are exposed to. But these are not some rural cannibals you've come across, this is a ritual that has bonded the mundane with the infernal. Visceral, shocking, surreal, and mind-bending!

Plot: An ancient cursed priest is unleashed on the world, courtesy of some bumbling adventurers.

"The Mummy" is a pitch perfect blend of humor, adventure, and horror. Playing like both the Indiana Jones sequel we all wanted and a huge summer blockbuster, the thrills and fun never stop coming. The charming cast and effects that range form impressive to lovably goofy feel right at home with the film's particularly affable vibe. If it's fun you're looking for, then look no further.

Plot: An experimental cure for a rare blood disease turns Dr. Michael Morbius into a "living vampire".

Though not the unmitigated disaster that many made it out to be, "Morbius" still falls short of the mark by bringing nothing relatively new or interesting to the table of comic book movies despite horror elements being in play. With a setup that plays like "The Fly" only without any of its teeth (pun intended), it starts off fine enough but doesn't take long to feel utterly discombobulated. Plot holes, somewhat shallow characters, questionable story choices, some really corny acknowledgements to its ties to an existing universe, and uneven plot development take the wind out from beneath the wings of what could of been a familiar but serviceable flick. As it stands, it's not memorable as either horror or a comic book movie despite having the bones to be something. Better luck next time.

Plot: A woman boards a WW2 bomber with a secret mission that sets the misogynistic crew aboard into fits of anger and suspicion...but there is something else aboard that might be more troublesome.

One might see a world where this movie could of been either a campy romp or a neat horror adventure. Alas, the heavy-handed "message" never stops beating the viewer over the head. Cartoonishly over the top characters range from mustache-twirling woman-haters to heroically stoic and capable female leads (Ripley this aint!). You'll wonder how such a silly concept can come off as strangely serious and rob the affair of all fun to be had. The results? An experience that feels tremendously stupid.

Plot: An orphaned child is raised by an aunt who will stop at absolutely nothing to keep him from leaving her possessive grip.

There are so many ways to describe this picture: unpredictable, darkly comedic, sleazy, surprisingly progressive, camp, disturbing, weird...the list could really go on and on. Fans of "Psycho" will certainly find much to chew on in terms of the bizarre oedipal subtext (among other glaringly similar themes), while fans of "Friday the 13th" might feel cheated that Susan Tyrell (playing the increasingly deranged aunt) didn't portray Pamela Voorhees. This movie is wild, subversive, and way ahead of its time when tackling themes that were very taboo then and remain very relevant now. Whether its all brilliant satire or a happy accident is up to the viewer but that it all makes for one helluva crazy ride is undeniable.

Plot: Born of rape, James Eastman seeks the man that gave him life...and bloodlust, a vampire who has lived several lifetimes in pursuit of a grim goal.

The structural bones of "Grave..." show potential for an engaging story, however the creators rarely jump at any opportunity to mine the material. As a result, the movie comes off as an arrangement of scenes haphazardly slapped together, often leaving the viewer feeling like huge chunks of continuity were left out for the sake of a cheap thrill. Though it moves fast and never bores, it entertains largely as ironically humorous exploitation rather than legit horror storytelling. Silly, rife with plot/character conveniences, and shoddily structured, this one is best left for vampire or exploitation completists.

Plot: Two women, one struggling to overcome grief and the other guilt, join their friends on a spelunking adventure that not only makes them face horrors below the surface but also themselves.

From its gut-wrenching setup, to the unspoken interpersonal tension, to the anxiety inducing claustrophobic environments, and to the visceral terror deep below, the film never once lets up its vicious bite as it barrels toward its bleak ending. Effective in its simplicity, bearing a fantastic cast with genuine onscreen chemistry, showing great restraint with the mysterious antagonists, fostering up a diverse array of scares, and sleekly punctuated with a unforgiving metaphor about life, "The Descent" proves itself a shining example of genre fiction. Just make sure and see the unrated version as it is the original cut of the film.

Plot: Years after his presumed death, a mad scientist continues his plot to use an experimental drug as a means to exert ultimate control.

Iditioc. That is the most suitable word to describe everything that happens in this low-tier, nonsensical creative excreta composed of poor acting, poorer writing, and dismal direction. Fans of "so bad, it's good" fare might mine a chuckle or two out of it but, even then, it proves unworthy of the effort.

Plot: An adaptation of H.P. Lovecraft's The Case of Charles Dexter Ward, where a man becomes obsessed with the demonic sciences of his ancestor to devastating effect.

Though it generally sticks to the plots beats of Lovecraft's tale, "The Resurrected" is hobbled by piss poor narrative structure, low budget, bad acting, clumsy attempts at building mystery, and a tendency to stretch scenes out to their limits to bide time. It's actually quite shocking how bad this is considering that the legendary Dan O'Bannon was the larger creative force behind it. Some neat effects work and the occasional flash of creative direction/camera work is about all you can latch onto into this exposition heavy steamer. None of the source material's morbid mystique is carried over despite the film reframing the story into something of modern pseudo-noir with absolutely no nuance. In fact, this choice keeps the meat of Lovecraft's tale at such a distance that it exacerbates the antagonist's utter lack of threat further sinking the whole affair into a bland miasma.

Plot: Charles Dexter Ward inherits an ancestral home and is soon drawn into a madness that involves revenant warlocks, vengeance, and unfathomable gods from beyond.

The first adaptation of H.P. Lovecraft's The Case of Charles Dexter Ward (unfairly billed as a Poe tale) deviates from the material quite a bit. It even goes as far as introducing elements from other Lovecraft tales into its narrative. Still, it comes off as a far better product than "The Resurrected". Vincent Price brings his unequaled presence to the lead and the story admirably leans into weirder elements than films of its time were accustomed to. Though meanders a bit (and is prone to director Roger Corman's tendency to milk locations), it proves to be a delightfully atmospheric endeavor for fans of old school horror, Lovecraft, and Price.

Plot: An astronaut survives a bombardment of radiation while in space and soon finds his body (and mind) decaying at an accelerating rate.

Originally planned as a parody of horror/sci-fi flicks, the production soon found itself being a more serious affair to make more money. This results in a picture that comes off as schlock rather than a competent attempt at either style. The remnants of humor feel out of place and show that it was as inept as the "horror" which is as shallow as it comes. The film (if you want to call it that) is the definition of stretching out a concept to its limits. A repetitive, poorly written (and acted) piece of dreck. Notable, however, are makeup effects from a young Rick Baker, who would go onto make some of the best effects in movie history

Plot: Driven to the edge of sanity by her loss, Scarlet Witch hunts down a superhuman with the ability to travel between universes and only Doctor Strange can help.

Touted as the MCU's first outright indulgence in horror and directed by horror legend Sam Raimi, this sequel came preloaded with boatloads of promise. Though many felt let down by the film's lack of delivery of fan's expectations, I was let down by what ultimately comes out to be a sloppy, poorly paced, and oddly underwhelming feeling affair. Effects were wildly inconsistent in quality, dialogue was borderline abysmal, character work was thin and unfulfilling, creative choices were eye-rollingly bad or highly questionable, and the director's creative eye was barely there. This was a film clearly compromised in production and it feels strangely soulless for it.

Plot: A newlywed bride must undergo a bizarre initiation to be embraced by her wealthy in-laws. One she might not survive.

A gleefully dark evisceration of the state of the privileged, "Ready or Not" is not afraid to play with genre expectations to mine darkly comedic delights or subversions. Packed with a wonderful cast, psuedo-satirical excess, and an admirable ability to juggle a multitude of tones, this one is a devilish romp that both satiates socio-economic frustrations and that unshakeable need to see revenge duly served. A blast!

Plot: A lab assistant becomes the focus of a scientist's less than ethical experiments.

Though inherently goofy in nature, the movie's simple structure and straightforward tone make for a pleasantly digestible piece of entertainment. Equal parts body horror, mad science, and animal attack flick, "Sssssss" is a surprisingly solid example of a b-movie that delivers without stooping too low for its watch value. It also stocks a fairly decent cast, some nice effects, and strikes a nice balance between the ludicrous and the lurid. Though many modern viewers will find it dated, those who partake of the older style of horror will find much to enjoy.

Plot: John is having quite the time dealing with his daughter's coming of age, especially in light of a recent divorce and move, but something far more sinister than growing changes is brewing beneath the surface.

This one is a well-acted and directed piece that fosters a decent amount of atmosphere and mystery while showing a lot of restraint with some of its horror roots. Some might argue it shows a bit too much restraint at times, as some of the mechanics of what is happening are a bit too vague. Ironically, this is countered by other revelations being left to clumsy exposition. Nevertheless, its foundations in the cultural prevalence of mounds and a neat riff on the changeling stories are intriguing. It will never be a cult classic and it certainly wasn't a hit at the box office but its also not a waste of time if you happen across it. That being said, maybe it's not something to actively seek out.

Plot: A group of archaeologists uncover an antediluvian civilization which beholds them as messengers from the gods. Soon, however, they butt heads over their disturbing customs.

Though well-intentioned with its social messaging, the blunt delivery renders the film clumsy and patronizing. Worse, you must first slog through a condescending intro, a mind-numbing and tensionless array of time-filler sequences, and gobs of poor dialogue to get to the meat of the story which, in all honesty, feels more like flavorless gruel. "The Mole People" feels like fodder for children, assuming they could brave the boredom.

Plot: The Lutz family opts to move into a house with a recent history of murder to ease the financial stress, only to find out that there are worse things to worry about.

Critically slammed and oft maligned, "The Amityville Horror" certainly deserves a better reputation than it has. Though it never reaches the heights of contemporaries like "The Exorcist" or "The Omen", it does manage to build a certain palpable atmosphere and credible tension that hurls one into a bleak and hopeless culmination. A memorable score and solid acting elevate the material which might otherwise be taken less seriously. It might not do much for modern audiences anymore and some might balk at the "true events" that it purportedly presents but, "The Amityville Horror" works as a straightforward supernatural chiller.

Plot: Before the events of The Amityville Horror, the house's previous inhabitants undergo their own troubles.

This prequel immediately sacrifices character work, buildup, and atmosphere in exchange for spectacle and poorly executed cheap thrills. Built on a weak foundation that superficially resembles the dynamics of the real world DeFeo family (or a version of them, anyway), the flick is more concerned with going for the jugular to ever let any of it feel remotely engaging. Worse of all, its attempts to sow in the supernatural only end up feeling forced and result in an third act that insultingly apes "The Exorcist" to resoundingly eye-rolling results. Throw in bad acting, poor direction, gratuitous effects, and zero concern for decent continuity and you have yourself a wretched stinker.

Plot: A skeptical journalist buys the Amityville house after busting paranormal charlatans using it for profit but the entity soon begins to make its influence known.

Though it shows the much needed restraint that part two didn't have, boasts better acting (mostly), shows some interest in continuity (however weak), and starts off well enough, the movie doesn't take long to hurtle listlessly toward the dumps. Based on events unrelated to the location, the results seem awkwardly patched together stylistically, tonally, etc. Though a change of approach would be welcomed, it seems they didn't bother too much with making the inspirational sources compliment each other. Worse, the whole affair is bogged down by a dull torpor punctuated by jarring moments where you're reminded there was a 3-D gimmick they had to acknowledge.

Plot: After moving into a home with a murderous legacy, the father of a family descends into madness. A remake of the 70's film of the same name.

This one would be forgettable were it not such an aggressively awful example of how not to make a remake. Vapid, uninspired storytelling is made worse by weak horror tropes, cheap and pathetic jump scares, hideous CGI, incredulous characters, laughable scenarios, nary an iota of suspense, and the unshakeable realization that Ryan Reynolds truly can never fully shake just being himself. Furthermore, the viewer must contend with lighting, editing, and music that reek of a forced attempt to give the whole affair a Hollywood sheen but only serve to prove that polishing a turd will only make it stink worse. Rife with ugly effects, overwrought camera movements, and profoundly stupid writing, this one is for the dogs.

Plot: A corporation harbors (and fears) the psychopathic creator of the war technology that makes them influential. Soon, the "rumors" of their ethically perverted approach to warfare soon run rampant within their own walls.

"Death Machine" is definitely ambitious with its bleak sci-fi setting, horror overtures, tongue-in-cheek dark humor, effects heavy approach, and bleak psuedo-cyberpunk vibes, all conjured up on a small 6 million dollar budget. Alas, it is also a tad overlong, rough around the edges, and maybe not as clever as it should be. Its major saving grace (and caveat) is that it basically plays like glorified fan fiction. To its credit, it wears its influences unabashedly on its sleeve. From Robocop to Universal Soldier to films the director worked on as an effects artist (most notably Aliens from which it liberally cribs). Ultimately, it proves to be the type of flick that movie nerds can partake of if only to feel as vicariously indulgent as the director did while making it. Its cornball self-awareness will most likely ingratiate those who aren't turned off by the inherent b-movie vibes at the outset and hold on for the ride. Though ambitious it never aims higher than its culty style and, for better or worse, that's exactly what it achieves. Cult film if there ever was one.

Plot: The new victim of a serial murderer terrorizing a small town might be his last...with the help of some lingering "presences".

Based on a Joe Hill story of the same name, this one proves an excellent example of improving something upon adapting it. Though much substance is added the source material remains inviolate while the film proves to be the ultimate form of the story. Fleshing out the characters, the world they live in, and the circumstances they are wrapped up in and then stocking the film with superb production value and extremely affable actors, makes for a very satisfying viewing experience. Making the heart of the movie the relationship between siblings and how they interact with the people in their world makes this horror film feel unique as the horror is merely set dressing for a greater story.

Plot: A reckless man looking to get on the good side of the union of vampire hunters so that he can secure his family's future stumbles into the crosshairs of a rising vampire queen.

A dash of exploitation, some horror, shades of buddy comedy, lots of camp and grue, and liberal nods to influences ranging from Omega Man to From Dusk Till Dawn make "Day Shift" something of a busy smorgasbord. The action will please with its neat over-the-top choreography and creative brutality while the comedy is a bit hit or miss, though never bad. Some plot points and characters feel a bit anemic and the soundtrack teases greatness before tucking away the selections before they fully flavor the flick. Still, despite its glaring flaws, the film is breezy, inoffensive fun.

Plot: Another grim anthology from Amicus Production with stories written by Robert Bloch (Psycho) all centering on the patients of an asylum.

Armed with an interesting framing story that nicely ties into the events by the end and starring an assortment of familiar faces for fans of British horror, "Asylum" packs a somewhat distinctive punch with tales that wouldn't feel out of place in an EC comic or an episode of The Twilight Zone. The stranger stories come off stronger (especially the final section) than the one more "thriller-esque" entry but, all in all, they show why Amicus was renown and beloved for their anthologies. A delight for fans of Brit horror, anthologies, and movies that achieve a lot despite budgetary limitations.

Plot: Nature revolts as birds attack the denizens of a small town, some of which we follow as they flee.

This movie did for horror what Tommy Wiseau's The Room did for drama. Namely, inadvertently create a film so abysmal that one can't help but revel in its aggressive awfulness. The only shock and terror here lies in the quality (or lack thereof) of the acting, scripting, directing, effects, and, well, everything else. Truly wretched but a must for fans of "so bad, it's good" type flicks. If you really want to amp up the misery, take in the behind the scenes material that reveals the delusion and ego of the director. Hitchcock this is not.

Plot: Two siblings with very opposing personalities jump on an "otherworldly" opportunity in a bid to save their family's legacy and make a place for themselves outside of their father's shadow.

Jordan Peele's third directorial effort proves to be another engaging and refreshing exercise in the genre. Armed with unique approach to a subject that audiences might feel fluent in, Peele manages to misdirect just enough to keep the viewer guessing as to what might really be going on. Packing some strong performances, something of a Tarantino-esque vibe, some gorgeous shot composition, and some tense horror set pieces, "Nope" makes an indelible impression. Everything comes together for a satisfying pay off and a redefining approach to a sci-fi/horror staple subject. As with every Peele movie, there is some social thematics at play. "Nope" questions the moral and ethical issues that surround the pursuit of fame, our morose obsession with spectacle, and the dangerous roads our inability to abstain from those pursuits might take us down.

Plot: After meeting online, a Russian woman (and her daughter) are soon taken in by a billionaire that has very little interest in making their lives better.

Make no mistake, this movie is pretty awful. While not completely basement level, the production values, acting, effects, direction, dialogue, music, pacing, and script all are notably "off". If you are compelled to keep watching, however, you'll be treated to what I can only be labelled a violent revenge flick which, while not really in the "so bad it's good" category, plays like a seedy exploitation one. Still, that does not a good film make.

Plot: A family plagued by an aggressively hateful and possessive entity turns to the help of renown demonologists, Ed and Lorraine Warren, lest they be destroyed from the inside out.

Loosely based on the questionable exploits of the somewhat infamous Warren couple, "The Conjuring" manages to make you care enough for their cinematic counterparts to forget the dubious realities. Armed with great cinematography, direction and cast, the movie conjures up (pun intended) a solid atmosphere reminiscent of films like The Amityville Horror while doing some rock solid world-building in the process. Add to that a slew of well-earned jump scares, tense scenarios, and both classic and creative horror set pieces, and you have yourself a memorable modern day entry into the genre.

Plot: A supernaturally afflicted English family enlists the help of the Warrens, who themselves are plagued by an ominous presence dangling portents of death over their heads.

A pleasantly surprising upgrade that builds on the strengths of the original entry and deftly handles the cinematic world it resides in while delivering potent atmosphere, strong and likable characters, and the now familiar creative assortment of horror set pieces. Still, the heart of the affairs lies in Patrick Wilson and Vera Farmiga's leads, an extremely memorable villain, and the slick world building.