This next chapter of the Halloween story is undeniably its own distinctive thing, Michael and Laurie’s return to greatness as thrillingly bloodcurdling as it is joyfully welcome.

All I do know is that The Predator might be one of the more stupefying and frustrating disappointments of 2018, and a big part of me kind of wishes I hadn’t watched it in the first place.

While no one is going to win an Academy Award for their efforts the collective authenticity of the primary cast is never in doubt, and as such caring about whether they live or die is surprisingly easy to do.

Upgrade is a total blast, and if in the coming years this bit of muscular, blood-soaked science fiction silliness were to spawn a sequel I’ll be first in line to see what sort of aggressively violent trouble Grey and STEM will get themselves into next.

The Endless goes places that are both eerily unexpected and emotionally affecting, the all-encompassing monstrous beauty of this spellbinding sci-fi thriller impossible to understate.

A Quiet Place is close to perfect, this monstrously entertaining chiller a nightmare-inducing smash I’m going to be screaming the praises of for many years to come.

The audacity of a Netflix premiere a little over two hours after a Super Bowl trailer presentation aside, there’s precious little about The Cloverfield Paradox that rises to the same heights as the previous two entries in the anthology series soared to, making this one more of a uniquely weird curiosity than it is anything compellingly substantive.

This Flatliners makes all of the exact same mistakes as the original, stranding its talented and attractive cast in ways that grow increasingly ridiculous as things move towards a climax.

Much like last year’s Ouija: Origin of Evil was a prequel that proved to be a monumentally massive improvement over its anemic low budget horror predecessor Ouija, Annabelle: Creation somehow, some way bucks the odds and proves to be a superior motion picture to its woeful 2014 precursor Annabelle.