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.
VFW is a cracking thriller, its pulse-pounding theatrics making this an agreeably bruising good time I loved every single gosh darn blood-soaked second of.
There is nothing subtle about Mon Mon Mon Monsters!.
Gretel & Hansel is not the fairy tale you know.
Based on the way The Turning ends, I’m not so sure there’s very much of James left to be discussed and dissected.
Andrew Desmond’s feature-length narrative debut The Sonata is a literate, methodically paced throwback gothic thriller that plays a little like a Hammer production from the mid-to-late 1960s that would have starred Peter Cushing and Christopher Lee in the two primary male roles.
Underwater gets the job done. I liked it a lot. Heck, I’m likely to head to the theatre and see it again before January ends.
It is a pity that The Grudge goes so obnoxiously off the rails just as it’s building to a conclusion.