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  • “SOUTHBOUND” (Movie Review)

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    From the people behind the V/H/S movies comes a film that should satisfy even those who don’t usually respond to anthologies, as SOUTHBOUND consists less of separate segments than chapters in the same story—all of them scary, one of them a truly harrowing experience.

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  • “THE PACK” (2016; Movie Review)

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    Even before they’re plunged into a cinematic nightmare that bridges the gap between John Carpenter’s original ASSAULT ON PRECINCT 13 and the 2011 Liam Neeson survival thriller THE GREY, the family we meet at the outset of Nick Robertson’s THE PACK has already got trouble aplenty.

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  • “ALL HALLOWS’ EVE 2” (Film Review)

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    Whether you’re a fan or completely unaware of the 2013 indie horror anthology ALL HALLOWS’ EVE, there’s a good chance you’ll find it’s sequel to be a frustrating experience. On one hand, fans of the first film might be disappointed that the structure and face of the first film- the bloodthirsty ‘Art the Clown’- is completely thrown away in favor of something completely different altogether. And on the other hand, the anthology film more or less plays exactly how it was produced: a collection of wholly disconnected horror shorts bought and assembled with no cohesion or mission statement. Though some of these shorts are well produced and executed in their own right, the overall ALL HALLOWS’ EVE 2 experience feels far from satisfying, especially when paired with a lazy and generic wrap-around segment.

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  • “AXE/KIDNAPPED COED” (Blu-ray Review)

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    Here’s a sterling example of how a film’s history can be as fascinating, or more so, than the movie itself. Severin Films’ restorations of Frederick R. Friedel’s drive-in features AXE and KIDNAPPED COED are noteworthy enough, but the supplemental wealth on the Blu-ray places this one among the past year’s very best disc releases.

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  • “SONNY BOY” (Blu-ray Review)

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    While there are plenty of films who turn to their lesser aspects in an attempt to wrangle the title of “cult film,” there are select others who earn it simply through existence. Robert Martin Carroll’s SONNY BOY is firmly, undeniably in the latter category as an absolute masterpiece of weird, unhinged filmmaking at its most soulful. An aesthetic mix between David Lynch, John Waters and Terrence Malick, SONNY BOY is an essential film for those who love the bizarre, surreal and trashy cinema, and Scream Factory has done the world a kindness by bringing it to a new generation on Blu-ray.

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  • “THE X-FILES: Season 10, Episode 2” (TV Review)

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    When THE X-FILES was announced to return for a six-episode revival in early 2015, fans didn’t quite know what those six episodes would entail. Due to the limited number of installments, some automatically assumed the reboot would be akin to a mini-series with one storyline that would warrant the return of Mulder and Scully. Yet in the reboot’s second episode, entitled “Founder’s Mutation,” fans learned that wouldn’t necessarily be the case, even though the episode did present pertinent information about our heroes. Rather, the “monster of the week” framework would return this week after the mythology-building first episode, offering a nostalgic return-to-form whilst continuing the revival series’ noted mean-streak.

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  • “JACK’S BACK” (Blu-ray Review)

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    At face value, JACK’S BACK has all the trademarks of an ’80s horror/thriller: a charming lead, supernaturally-connected twins, prostitute murder and a melodramatic rock ballad kicking off both credit sequences. Hell, even the stylistic flourishes from director Rowdy Herrington (of ROAD HOUSE fame) are unmistakably representative of the era and genre. However, in spite of those timely details, JACK’S BACK is a bit more effective than it’s unassuming reputation may hold, taking advantage of its L.A. setting, high-concept narrative and solid ensemble, lead by an excellent James Spader in a rare dual role.

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  • “31” (Sundance Movie Review)

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    If one were to just compare Rob Zombie’s 31, a world premiere at the current Sundance Film Festival, to other films in the “grindhouse” genre, there is no doubt it would hold its own. It is violent and campy, with the requisite sex, blood, profanity and gore. But ultimately, it feels rushed and leaves one with the sense of an unfinished idea.

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  • “THE X-FILES: Season 10, Episode 1” (TV Review)

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    During the nine-season original run of THE X-FILES, much could be said about the men behind the curtain, but more often than not, there was a seeming benign nature to them. As monsters and extraterrestrials would encounter Mulder, Scully and Co. week after week, the casualties of the investigations often were rarely targeted; rather, they were often innocent victims via chance encounters or government agents whose lives were cost via incompetence. Yet now, in this six-episode mini-series events, THE X-FILES asserts a different perspective on the puppet masters, and one that is much more misanthropic than ever before. And while few could have guessed that THE X-FILES would return with a mean-streak, fewer can deny that it works for the show, raising the stakes for our heroes while reminding the audience that in this limited run, the truth is closer than ever before… and those who discover it are not safe.

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