In response to our own Bekah McKendry’s positive review of the already controversial THE DIVIDE, this writer has opted to offer a different, less enthusiastic perspective.
Not since THE RING have I approached a remake with as much trepidation as I did LET ME IN.
THE DEVIL’S ROCK, a so-so supernatural flick from New Zealand, doesn’t feel fresh so much as uncommon.
Two feature films in, and UK-based director Ben Wheatley has already carved out a personality and style that’s recognizable as all his own.
Endings are always a challenge when making horror films, but especially in the found-footage subgenre, where coming up with a conclusion that satisfies both the particular demands of this technique and the basic expectat
Sadly, we live in the sort of times that encourage an influx of gloomy postapocalypse movies.
Early in THE DARKEST HOUR, best friends Sean (Emile Hirsch) and Ben (Max Minghella), newly arrived in Russia, discuss the possibility of hooking up with a cute American girl in a local bar.
The horror genre has a great history of Christmas films.
Following a friend’s enthusiastic recommendation, positive word of mouth and the gorgeous poster (pictured below) I kept seeing around the Fantasia festival, I made a point of getting out of the house early to see