Tim Burton's return to stop-motion animation reanimates many of his favourite themes, from 50s Americana to Gothic horror, but fails to strike an emotional spark.
Short on scares but big on contrivance, the many problems with the PG-13 horror movie The House at the End of the Street start with the title.
For the better part of the past decade it had appeared that Tim Burton had lost his mojo.
When it was announced that Barry Levinson was going to be having a film as part of the TIFF Midnight Madness slate, and that it would be a found footage horror piece about infected water, I admit I
Two sisters try to lay low in Dublin while being pursued by long-coated inspectors.
Before starting this review, I’m going to come out and say it; I’m a Rob Zombie fan. Whether it be his albums, films or comic book ventures; you name it, I got it.
It appears that Rob Zombie may have been studying up on his David Lynch lately as the metal-head-turned-filmmaker's latest is more head trip than it is horror.
A textbook case of a remake failing to improve on a classic original, Come Out And Play not only loses the context of the hidden Narciso Ibáñez Serrador directed gem, which was released on the heel
At the moment, the found-footage sub-genre is all the rage.
Playing in the Midnight Madness section to a ravenous audience expecting thrills every reel, the fact that Aftershock takes its sweet-ass time to get going feels like a bold move indeed.