I still really like Sophia Takal’s down-and-dirty take on Black Christmas. It gets better for me with each viewing.
The didactic preachiness is too toothless to become truly tiresome, and in some ways that might just be the most disappointing and frustrating facet of The Hunt of them all, making this satirical safari unworthy of any more of my attention.
“I think Haley delivers a tour de force performance that will knock everyone’s socks off. She poured every iota of her soul into this project, and it’s transcendent to watch her.”
– Swallow writer/director Carlo Mirabella-Davis
Mirabella-Davis manages to bring all of the various themes he’s been exploring throughout Swallow to shockingly haunting culmination, all of which makes his insightful drama nothing less than unforgettable.
The Invisible Man is next-level stuff that signifies his arrival as a talented storyteller who has an innate ability to take seemingly tired concepts and ideas and make them feel original and contemporary.
Pet Sematary II is nuts.
Brahms: The Boy II is a lazy sequel.
The Lodge is powerfully haunting stuff, things building to a climactic turn of events that are as shocking as they are in some ways equally warranted.
The final third is a massive disaster that’s bewildering in its narrative ineptitude, and as I sat there in the theatre I was dumbfounded how those involved with Fantasy Island thought any of this was a going to play even reasonably well with a paying audience.