While V/H/S is a wildly uneven ride, for those willing to take a seat on the rollercoaster the hypnotic horrors found within are undeniably worthy of discovery.

“I have made six horror movies in seven years. Pretty soon it’s going to start to feel repetitive. But it’s a great genre to experiment in as a filmmaker. You can pretty much do anything. That sense of freedom is inspirational.”
– Ti West

Early on House at the End of the Street had me intrigued. By the midsection I was completely captivated by it. But by the end? By that point I was ready to throw things at the screen and howl my disapproval at how wildly off the rails this Hitchcockian enterprise in suspense and terror had suddenly become.

The Apparition is a tediously uninspired ghostly mess, and in the cold light of day the wonder isn’t why it took so long for Warner Bros to put it into general release, but instead why they felt the need to do so at all.

It’s bravura filmmaking, and without question Compliance is one of the finest features I’ll likely see in all of 2012.

The moral of this story is universal and, especially in a heated election season filled with double-speak, specious innuendo and outright lies, everyone everywhere should listen to.

I don’t have a lot that’s positive to say about Abraham Lincoln: Vampire Hunter.

Who are we? Where do we come from? Where do we go from here? Are we alone in the universe? These are just a few of the questions Prometheus asks, the end product not so much reaching for answers as it is more interested in reigniting the cooling embers of an age-old debate.

His Dark Shadows is an odd duck, never really finding solid footing yet still offering up plenty of laughs, some of them the biggest the director has crafted since Beetlejuice. It goes to some highly intriguing places and isn’t afraid to slow dance across a blood-red floor.