The whole business of fiction and reality gets considerably blurry and it’s hard for a regular Johnnie to know what’s what.
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Blood Fest addresses a problem that has plagued brainy terror scribes since time immemorial.
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Sewing their mouths shut should have silenced the girls to everyone’s satisfaction but the young Mr. Green decided to really cement the whole business by murdering them as well.
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Monte Hellman is not the first subversive artist to be attracted to the coveted Christmas slasher sequel sub-genre.
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At times, it makes films with less likable murder victims seem hardly worth the trouble.
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The girls decide that any unholy communion that’s good enough for the boys is good enough for them.
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Laurie Strode has transformed, almost butterfly-like, from a traumatized teenager into a fully functional alcoholic.
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I am met with an unprofessional swell of pleasant associations whenever I glimpse the Dark Castle Entertainment logo.
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Director Matty Beckerman is able to conjure more verisimilitude than is typically seen in doll-themed collegiate slashers.
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Even with its jaunty name, business at Party Beach is adversely effected by news of mutated, undead gill-men making meals of the locals.
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For any dubious viewers who found themselves asking, “do we really and truly need Another WolfCop,” writer and director Lowell Dean responds strongly in the affirmative.
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Though I don’t typically give critical notice to the oxymoronic category of “television movies,” it is hard to pass up a collaboration between Wes Craven and Linda Blair.
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Transformations is a powerful testament to how sincere devotion and access to a flamethrower can conquer any strain of evil.
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Like summoning an angel with nothing but chalk and starvation, A Dark Song is impressive in how great an effect it produces with so very little.
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While some borrow the family automobile without express permission or host a party while the parents are away, Leah invokes a witch named Pyewacket to murder her mother.
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Noted fornication opponent Jason Vorhees resumes the sort of violent behavior that powered the franchise through six previous chapters.
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All manner of inconveniences may arise if a burgeoning hellmouth is allowed to blossom, the worst of which being that no living creature shall find peace in death ever again.
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The film’s level of self-awareness indicates that director Fred Olen Ray is gazing not only at breasts but also at himself.
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Jason Momoa, typically known for playing various brooding musclemen, is a merry sight as as an upbeat slasher villain.
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Despite bad manners and even worse omens, Kitty still tries to discover why her estranged fiancé spends his evenings wandering a topiary maze.
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