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  • “THE SIMILARS” (Film Review)

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    Isaac Ezban’s second feature, THE SIMILARS, opens at night amidst a heavy rain. We are introduced to a man who although crucial to the story is not the focus, a powerfully voiced narrator explains. Within these first few moments, it’s pretty clear what we’re in for: a stylish old-school science fiction throwback in muted colors with a whole lot of atmosphere.

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  • “HUSH” (2016; SXSW Movie Review)

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    While Mike Flanagan’s nightmares-come-true chiller BEFORE I WAKE remains stranded in Relativity’s bankruptcy limbo, he has returned to his low-budget roots from whence his standout debut feature ABSENTIA was spawned, and come up with another winner in HUSH, a good old-fashioned truly scary movie.

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  • “WE GO ON” (Film Review)

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    The latest film from the directing duo behind YELLOWBRICKROAD, WE GO ON is a film that works so well because even despite the familiar thematic material as of late, it’s got the organic pacing and storytelling that feels so far removed from contemporary horror. In an age where scares-per-minute and body count are so often the barometer for “memorable” horror, WE GO ON adopts an aesthetic that feels incredibly natural, allowing the story to unfold with character moments and interactions that a big studio might automatically lose in the editing bay. But by preserving the spirit of the narrative, WE GO ON works better than most outings in the independent horror circuit, and does so while also being legitimately scary and unpredictable.

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  • “DAMIEN: Season 1, Episode 1” (TV Review)

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    When it comes to the pilot for DAMIEN, there is some good news and there is some not-so-good news. In terms of the former, DAMIEN is setting the stage for a horror series that’s not only blood and respectful to the original OMEN film, but also may be set the biggest scale for a horror series to date. Yet in terms of the latter, with the pilot laying ground and catching up unfamiliar viewers to THE OMEN mythology, the series doesn’t quite get the opportunity to establish its own identity in its inaugural outing.

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  • “THE OTHER SIDE OF THE DOOR” (Film Review)

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    In the film’s favor, THE OTHER SIDE OF THE DOOR isn’t the trainwreck most people expect to see from the studio system nowadays, nor is it anything exceptional as well. Simply put, THE OTHER SIDE OF THE DOOR is a fairly unremarkable exercise in horror cinema, managing to be both generic and effective simultaneously. And while the film wears its influences on its sleeve- in fact, similarities to PET SEMATARY are uncanny at times-, THE OTHER SIDE OF THE DOOR rehashes and repurposes notable genre tactics because they’re known to work, and in that case, THE OTHER SIDE OF THE DOOR is creepy, if not truly original in nature.

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  • “THE CORPSE OF ANNA FRITZ” (Film Review)

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    If you’re going to be tackling a movie about necrophilia, there’s a good chance that it’s likely going to be a polarizing experience. However, as fate would have it, necrophilia is simply the beginning of the wicked path shown in THE CORPSE OF ANNA FRITZ, an exercise in tension that will grip the audience from start to finish. Yet if there’s anything that’s truly shocking about THE CORPSE OF ANNA FRITZ, it’s how well director Hector Hernandez Vicens makes conventional story beats seem so unconventional via the use of misdirection that would put a magician to shame.

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  • “THE FINAL PROJECT” (Movie Review)

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    THE FINAL PROJECT begins by addressing a question oft-unanswered in found-footage movies: Who found and is presenting the footage, and why? The first scene has a shadow-shrouded figure telling us he has put together the following visual document as “some type of effort to try and better understand what happened that night.”

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  • “THE BOY” (2015) (Blu-ray Review)

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    It’s always going to be frustrating to discuss the legacy of Craig Macneill’s THE BOY, not to be confused with the William Brent Bell film that hit theaters mere months after its release. And even more frustrating than sharing a title with a major studio horror film is the fact that the Spectrevision production is a legitimately fantastic bit of slow-burn, dread-inducing horror, earning both Chainsaw Award nominations and a spot on several Top 10 lists last year. So luckily, THE BOY will get a chance to get in front of more fright fans with its brand new Blu-ray release, courtesy of Scream Factory.

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  • “CONVERGENCE” (Blu-ray/DVD Review)

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    “The quality of our lives here, how we relate to this world and most especially the concern we express for our fellow humans, vastly affects the quality of the part of our being that persists after the death of our bodies,” MIT-trained physicist Gerald Schroeder writes in his epic, paradigm-shattering attempt to reconcile science and religion, GOD ACCORDING TO GOD. Writer/director Drew Hall’s supernatural thriller CONVERGENCE rather brilliantly conjures up a thought-provoking, at times quite unsettling vision of one (seemingly) forsaken corner of this post-death persistence.

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