From this point forward Green Book will always be judged by its Best Picture win at the 91st Academy Awards more than it will be assessed via the weighing of its various strengths and weaknesses.
For fans of classic 1930s and ‘40s horror, The Return of the Vampire is close to essential. It’s a quite entertaining and imaginative riff on both vampire and werewolf legends and features a wonderfully droll star turn by an elegantly magnetic Bela Lugosi.
Jamie Blanks’ Valentine has aged rather well. A movie I didn’t care for at the time of its release, I now see a lot more f merit this slasher throwback than I admittedly did back in 2001.
Creed II feels more like a Rocky sequel than it does a direct follow-up to 2015’s Academy Award-nominated Creed, but that doesn’t make it any less entertaining.
Gustav Möller’s The Guilty is one of 2018 best films. It was a worthy submission for Best Foreign Language Film by Denmark, and even though it didn’t ultimately score a nomination that doesn’t make it any less stellar.
The Nutcracker and the Four Realms is growing on me. It’s still a strange movie that has way too much going on and one that never quite gets a handle on all of its various story elements. But it’s made with imagination and flair, and as a purely visual exercise much of it truly is delightful.
Ugly and uncomfortable, 10 to Midnight is certainly one of the seedier and more abhorrent exploitation thrillers star Charles Bronson made during the twilight of his career for Cannon Films. But it’s also one of his more fascinating efforts for the studio, its edgy, thought-provoking script a true descent into emotionally-deranged terror that packs far more of a viscerally upsetting punch than anticipated.
There’s a reason the Critters series has remained so popular for the past three-plus decades, the first two films winningly inventive and hugely enjoyable even if they’re also undeniably slight and purposefully silly.
I didn’t give Mick Garris’ Sleepwalkers enough credit back in 1992. It’s a much better film than I originally stated filled with some deliciously devious moments. At the same time, it’s still not the most memorable supernatural offering of the era, and even with Stephen King’s name front and center this still feels like a middle-of-the-road tale from the iconic author than it does one of his essential pieces of horror fiction.