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.
I like The Meg. I enjoy watching Jason Statham and his ragtag team of charming eccentrics battle their megalodon to the death. An unabashedly silly movie, Jon Turteltaub’s crazy little giant shark action spectacular almost can’t help but make me smile.
Our House might not go anyplace I found to be unexpected or original, but that does not mean it still didn’t get there with enough flair and creative energy to keep me entertained.
“Some of this is legend, but at least this much is fact – when rioting citizens of France destroyed the Bastille, they discovered within its records this mysterious entry: Prisoner # 64389000 – The Man in the Iron Mask…”
As for Scream! Factory’s Blu-ray presentation, this is one “collector’s edition” that more than lives up to the designation. Featuring an excellent new transfer and a solid collection of extras, fans of the film should definitely consider adding this release to their personal library.
Thanks to Scout Taylor-Compton’s solid performance, cinematographer Christos C. Bitsakos’ suitably creepy visuals and Elia Cmiral’s strong score, Mark H. Young’s Feral is hardly a waste of time. It just doesn’t do enough original or new to be memorable, and as such ends up being just another low budget zombie infection thriller seemingly made to fill up streaming service horror queues and little of anything else.