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  • “HARBINGER DOWN” (Film Review)

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    For a critic who primarily reviews within the horror genre, giving a completely unbiased review to a project such as HARBINGER DOWN is almost impossible. Given the film’s publicized Kickstarter, promotional materials presenting itself as a “practical effects film” and the heartbreaking saga of Studio ADI’s work on THE THING, HARBINGER DOWN has been a film fright fans have been rooting for since day one. And while any horror fan should be excited when one of the industries top FX masterminds is given free reign to do an old school monster movie, that same sense anticipation can be a double edged sword, and HARBINGER DOWN unfortunately falls into that category.

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  • “WYRMWOOD: ROAD OF THE DEAD” (Blu-ray Review)

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    While the marketing materials may try to sell Kiah Roache-Turner’s WYRMWOOD: ROAD OF THE DEAD as a cross between MAD MAX and DAWN OF THE DEAD, this fantastic independent zombie flick is much closer to something like THE SIGNAL (2007) or DARKMAN. Though WYRMWOOD offerings more than enough blood, violence and turbo-charged insanity to come off as ROAD WARRIOR-esque, the film is also surprisingly emotional while exploring different, more sci-fi oriented avenues than one might expect. But in doing this, WYRMWOOD’s weird streak allows it to stand among the recently saturated zombie film market to be something truly memorable and fun, reminding the audience how far one can stretch a dollar with the right amount of imagination and gore FX.

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  • “NORTHMEN – A VIKING SAGA” (Film Review)

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    When life hands you lemons… start throwing axes at random nameless, faceless baddies.

    Such is the maxim the marooned berserkers of NORTHMEN—A VIKING SAGA seek to honor and invoke fewer than five minutes into this viscera-festooned, manic-in-a-good-way, unabashedly over the top ninth century adventure flick: Think the popular History Channel docudrama series imbued with a little John McTiernan-esque swagger and sheen—not to mention a considerably more laissez-faire approach towards graphic violence—and your expectations will be roughly in the right longship.

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  • “KNOCK KNOCK” (Film Review)

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    While Eli Roth may be known for his particular and popular brand of horror, ranging from his directorial work on HOSTEL to his acting in AFTERSHOCK to his producing work on the big screen and small, one might forget that Roth cut his teeth in one of horror’s most longstanding institutions: Troma. And while Roth’s horror geek cred has never come into question, what with his penchant for provocative, Eurohorror-influenced content, Roth’s sensibilities have long existed within the realm of exploitation. But with KNOCK KNOCK, Roth’s most recent directorial effort, horror audiences will see a new side to Roth as a filmmaker as those sensibilities collide into something completely different: a midnight movie made for the mainstream horror fan.

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  • “THE UNWANTED” (DVD Review)

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    Writer/director Bret Wood’s moody microbudget melodrama THE UNWANTED (out now on Blu-ray from Kino-Lorber) has been met with general critical indifference since its release. Too glacial in its pacing, too light on hard sex and violence for many horror movie hounds and too modestly financed to thrill those looking for a glossy arthouse piece, THE UNWANTED is certainly an anomaly and doesn’t fit comfortably anywhere, really. That, of course, is part of its fascination; it’s a film that goes against convention and has a strange power that is hard to shake.

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  • “COP CAR” (Fantasia Movie Review)

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    COP CAR, in which two preteen boys steal a cruiser from a sheriff who’s very, very anxious to get it back, is not the kind of movie you’d get from a studio taking on this premise (shenanigans ensue!), nor is it a ruthless, transgressive indie nightmare (THE HITCHER with kids!). Rather, it derives its tension from the matter-of-fact way it plays out the story’s inevitable developments.

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