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A haunted house movie from the dog’s perspective. No cheap gimmick but an absolute marvel, strikingly original and deeply affecting. An interspecies love story without a lick of phony sentimentality.
2012’s The Cabin in the Woods is on Max in the US, Sky Cinema in the UK (and lots of other services!).
There is only one thing worse than an M. Night Shyamalan movie with a twist ending. And that is one without a twist ending. Feels like a faith-based movie trying to sneak in under a disingenuous wire.
Ambiguous, introspective, thoughtful. As weirdly uncomfortable as horror should be, and rarely is, as it examines how these movies can infect us. Niamh Algar is terrific, and deeply empathetic.
A self-indulgent, faux-woke mashup of noir crime, black comedy, and Tarantino-esque ultraviolence. Some great performances, including a spectacular feature debut from Cynthia Erivo; shame they’re so wasted.
The best of the bunch in this anthology of vaguely interconnected shorts are the outrageous and uproarious genre pastiches “Friday the 31st” and “Bad Seed.”
Utterly empty. It’s aware of the tropes of the new mythos of alien abductions, but makes no attempt to find anything even the slightest bit fresh in them.
Genuinely horrific and deeply scary in a way that draws on the most primal of emotions. A horror flick with rare emotional and psychological resonance.
Oh, it’s horrific, all right: wooden performances and stilted exposition, punctuated by bouts of random bloody sadism.
Asks us to look anew — and askance — at conventions of cinematic horror while also engaging in startling satire of America’s culture of violence. (new DVD/VOD UK; also US/Can)
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