In TOAD ROAD, Hell is many things. One is a destination, of course. More than that however, it’s a goal.
Here Comes the Devil is only the second film I've seen by writer-director Adrián García Bogliano, following a recent viewing of his "geriatric lunatics with nitroglycerine" horror movie Cold Sweat
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.
Abel Ferrara and writer Nicholas St. John’s first film, The Driller Killer, subverted the sexism found in most slasher flicks by offering a madman who targets derelicts rather than busty teens.
Yes, the Big Reveal at the end is intact.
The easiest thing to do with Spike Lee's latest work, a "don't call it a remake" of Park Chan-wook's 2003 film Oldboy, is to simply dismiss it.
Spike Lee has been understandably adamant about describing his version of Oldboy as a “reinterpretation” rather than a remake.