A heavy sense of dread is cast over films in which terrible things befall characters that inhabit a sunny, 50s-esque world.
As a spin-off of sorts, and the latest entry in what’s currently the (possibly waning) horror franchise du jour, there are essentially three things that surprise in PARANORMAL ACTIVITY: THE MARKED ONES.
In TOAD ROAD, Hell is many things. One is a destination, of course. More than that however, it’s a goal.
The ultimate terror for any, even half-decent, parent is the unthinkable—yet perfectly feasible—concept of losing their child.
At this point in the history of science fiction film, there’s ironically little territory left to cover in space.
Yes, the Big Reveal at the end is intact.
Somewhere in the southwest of England there are reports of supernatural phenomena at a rural church.
Vincenzo Natali, the Canadian director whose previous films like CUBE and SPLICE have plumbed the horrors of hard science, takes a successful turn toward the ghostly with HAUNTER.
Among the reasons cited for giving Stephen King’s CARRIE another cinematic whirl, one of the most prominent has been the rise of bullying as a concern since Brian De Palma’s 1976 adaptation.