I Care a Lot might be the most amoral pitch-black comedy-thriller I’ve seen this side of Joel and Ethan Coen’s Burn After Reading.
But what The Funeral Home lacks in depth it more than makes up in style.
The Night has power, its unyieldingly disquieting unease a beauteous descent into a pitch-black psychological abyss from which there may be no escape.
For a film obsessed with nailing every minute detail, it’s those small missteps that make The Little Things a vexing conundrum.
While I’m sure many will miss the mutant hillbilly cannibals of the previous series, for my money this Virginia-set Wrong Turn is the superior backwoods sojourn into mayhem and madness.
The Marksman is a ponderous slog of a tale that rarely achieves anything close to a lasting impact.
While No Man’s Land’s finale is hardly original or unexpected, it still carries a fair amount of emotional weight that stopped my heart cold right at the very moment it was supposed to.
The Dark and the Wicked isn’t a piece of light and fluffy horror entertainment. There are no rainbows here, Bryan Bertino’s latest more than living up to its title as being both agonizingly dark and paralyzingly wicked.
If Roland Emmerich’s outlandishly overblown 2009 hit 2012 and Roar Uthaug’s 2015 critical darling The Wave got together and had a baby, it would probably look a lot like Ric Roman Waugh’s goofy-if-grounded Gerard Butler disaster epic Greenland.