The Black Phone is a perfect example of how to tell a simple, somewhat familiar story with flair, intelligence, and style.
Spiderhead is a great Twilight Zone or Black Mirror scenario, only one that offers up a terrific idea, asks several fascinating questions, and then frustratingly doesn’t know how to reach a satisfying resolution.
“We love that in our movies you can find a subtext. You can find more things when you watch a second time.”
– Fernando González Gómez
Jurassic World Dominion is dumb without the fun, and that just makes me sad.
The gleefully anarchic and exuberantly pitch-black The Passenger is a dangerously nasty horror comedy that got under my skin.
Crimes of the Future is a futuristically retro slice of body horror that left me speechless. It is a twisted descent into madness, refusing to coddle its audience or offer up a single happy ending. I wouldn’t have had it any other way.
Treasure of the Four Crowns is certifiably insane. It’s also spectacularly entertaining, reveling in its inherent madness so thoroughly that it’s impossible not to be impressed by all of the inventively deranged absurdity.
Jack Palance and Martin Landau gleefully ham it up, and there’s a nifty plot twist at roughly the two-thirds mark that’s moderately surprising, but otherwise Without Warning is one of those low-budget 1980s oddities that never fully delivers on its promise.
Maybe Firestarter is unadaptable?