Amber Heard has definitely made a name for herself in the horror genre, with her latest entry being John Carpenter’s THE WARD, which opened on Friday. Her first fright flick was Jonathan Levine’s ALL THE BOYS LOVE MANDY LANE, which remains, to this day, unreleased in the States. Here’s Michael Gingold’s review.

Since [REC] 2 is debuting on DVD this Tuesday, July 12, we thought it would be a good time to look at Michael Gingold’s glowing review of the original Spanish classic that inspired not only the American remake QUARANTINE, but [REC] 2 and a pair of upcoming sequels.

Ordinarily, when a movie runs only 75 minutes long, it’s a sign that either a lot wound up on the cutting room floor, or there wasn’t much inspiration behind the film to start with. But it’s just the right length for HORNY HOUSE OF HORROR, a Japanese sex-and-gore fest whose creators clearly knew better than to stretch it out any further than its simple, prurient premise could bear.

The original 1973 version of DON’T BE AFRAID OF THE DARK is near-legendary in the annals of horror for terrifying a generation of kids who caught it on late-night TV. One can only imagine what kinds of trauma the new theatrical version might inspire in preteen viewers, since its protagonist, unlike its predecessor’s, actually is a child.

They say that a good horror film is all in the buildup, and ENTRANCE puts that idea to the ultimate test, in that the vast majority of it is buildup. This is not meant as a criticism, just an advisory; those approaching it as a horror film should know it requires patience, but also rewards it.

QUARANTINE 2: TERMINAL is not only a superior sequel, it’s a superior sequel to a remake, which is one reason it has escaped a direct-to-video fate to land in select theaters starting this Friday. Diverging completely from [REC] 2, the follow-up to the movie that inspired the first QUARANTINE, it mixes up familiar ingredients to deliver a tense, scary and bloody ride.

J.J. Abrams’ SUPER 8 indulges in two kinds of nostalgia—one directly, one not so directly. In the former sense, it calls up memories of those decades-ago days when young, budding moviemakers wielded cameras that shot small-gauge film and not video or hi-def digital, when more hands-on care and resourcefulness were necessary and the process was thus more of an adventure.