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?
The Sadness is one of the more aggressively bleak, disturbing, and depraved horror films I’ve ever seen. While I know that sounds like hyperbole, trust me when I say it is not.
It doesn’t happen immediately, but when it matters most, Raimi unleashes all of the crazy, comedically vaudevillian, blood-soaked, visually audacious tricks fans expect from him, and Doctor Strange in the Multiverse of Madness comes alive like no other MCU entry in recent memory.
Gustavo Hernández’s latest shocker Virus: 32 is an effectively unsettling slice of bloody run-and-hide zombie horror that had me squirming in my seat.
Themes revolving around personal self-discovery are universal in their eerie effectiveness, and there were multiple moments where I saw myself in the main character, a quiet shiver cascading down my spine every time.