The Worst of 2018

2018 has been a pretty split year as far as horror movies go. We had some of the best in years as well as some real cinematic abominations. These are the absolute worst that horror had to offer this year, but first some dishonorable mentions...

The First Purge

It's exactly the same as the other three films: sloppy, loud, and obnoxious. 'The Purge' franchise has some of the most forced themes crammed into them as if they're trying to have a deeper message or speak about something meaningful. Instead, it's just watching unlikable and vile people riot for 2 hours. You've seen this one before so it's better to skip it.

The Cloverfield Paradox

This film had some great stuff going for it, from its surprise reveal on the night of the Super Bowl and claiming to be the connecting factor to the first two 'Cloverfield' films. Instead, we get yet another sci-fi film that wants to be '2001: A Space Odyssey' while throwing in a vague connection at the very end to justify its title. One of the most generic films you'll find on Netflix, and one you should ignore in favor of some much better choices on the site.

And with those out of the way, here are the biggest losers...

   

Winchester

The true story behind the mysterious Winchester Mansion is one of the most unsettling you'll likely hear, so how is it that CBS Films managed to make such a dog of a picture? Casting the excellent Helen Mirren and Jason Clarke in such dreck is just salt in the wound. This should have been a surefire hit but rather than go with the true elements and psychological terror 'Winchester' opts to rely on the same old ghost story tropes leaving the audience nothing to enjoy.

   

The Nun

A perfect example of why we don't need a cinematic universe for every single film nowadays, 'The Nun' is a bland snoozer of a film that has none of the characterization or suspense of the 'Conjuring' films. It's yet another ghost story set in a Gothic castle with a jump scare every five minutes. Throw in the most vague and desperate connection to the franchise and you have a film that struggles to justify its own existence. 

   

Blumhouse's Truth or Dare

Blumhouse for many years now have had some of the best and/or most successful horror films of the modern age, but its only natural for anyone to have a reject or two down the line and 'Truth or Dare' is the perfect example. I couldn't tell you the whole plot of this flick again if I tried, nor could I tell you any of the character's names. This picture above is the most you'll see of the creature and it's completely absurd using the very worst and laziest CGI you'll see. I was so close to walking out on this one and it will be forever a painful memory.

 

Slender Man

Earlier this year, this film came under some controversy where many felt the film was in poor taste and shouldn't have been made. I 100 percent disagreed with that and even wrote a little piece about it, but just because I feel that the film had a right to be made doesn't mean it isn't a huge dumpster fire. Whether or not the multiple edits and delays of the film made it a worse final product, I can't imagine some extra gore scenes or an alternate ending would have changed the outcome here. A slow, boring horror film based on a license that honestly was capitalized on too late. I still defend censorship of 'Slender Man', but I can't defend it's poor quality.

Hell Fest

'Hell Fest' commits some of the worst sins of slasher films. It's light on gore, little body count, and completely wastes its admittedly awesome setting and premise. It also tries to sequel bait, which is one of the most annoying things ever. If we don't care enough about this film, you'll be damn sure we don't want to see another one. This one was more disappointing than all out bad, but still if you can get schooled by direct to video slashers with lower budgets, you should be ashamed.

 

The Possession of Hannah Grace

Did anyone even know this one came out? Did anyone even know it left after about a week? I simply will never understand why a studio would shell out several million dollars for a film they clearly have no interest in. I can't even find out if the movie managed to make back its paltry budget or not. This film is the most forgettable one you'll see this year, horror or otherwise. It's so pathetic that it doesn't even clock in at 90 minutes. What the hell was Screen Gems thinking? (Though I guess the same should be said about 'Slender Man')

And that was the worst of the worst for 2018. Granted, I'm sure there was a lot more as sadly the horror genre tends to get the bulk of cinematic garbage but hey I can only go through so much torture. Hope you all have a Happy New Year and come back and see me for some more reviews.

 

  

The Best of 2018

Another year, another slew of horror both good and bad. These are the ones I consider the best. But first, some honorable mentions:

The Strangers: Prey at Night

While it was far too late for a follow-up to 2008's 'The Strangers' and 'Prey at Night' is a bonkers and more traditional slasher film, It felt like the filmmakers are putting their best efforts into a mediocre script. There's a strong visual appeal to everything, taking inspiration from the films of John Carpenter and others of the 1980s and I will still defend it now as I did the first time, the swimming pool confrontation is one of the best scenes in a movie I've seen all year. It wasn't perfect, but I still dug it.

 

Puppet Master: The Littlest Reich

I'm not sure why it took so many entries in this series to finally just give us something straight-forward, nasty, and fun? The film is a semi-reboot of the long running franchise and gives it the fresh breath of air it sorely needed. That being said, It's still at the end of the day a 'Puppet Master' film with many of the same cheap special effects and plot holes aplenty but the film relishes in its campy and exploitative nature making for an entertaining bloodbath.

 

Leprechaun Returns

2018 seemed to be the year of the soft reboots, and 'Leprechaun Returns' was one that certainly took me by surprise. I honestly don't think even the most hardcore of us horror fans were really clamoring for this one, but hey like 'Puppet Master', this sequel just takes the elements that work and crafts a fun and surprisingly gory flick with some humor that didn't make me cringe (for the most part).

And now onto my top 10 of 2018...

Overlord

A last minute entry this year is a new film from Bad Robot Productions that feels like a 'Wolfenstein' game come to life. While Nazi zombies are certainly nothing new in the horror genre and have been done much better (Dead Snow) 'Overlord' has some strong performances, likeable characters, and some great action sequences throughout. It's on the bottom however because the horror elements don't really come into play until the final act, giving the film some strong tonal whiplash.

   

 Hellraiser: Judgment

Clive Barker's 1987 film 'Hellraiser' will always be one of the best in the horror genre, but this series is by far one of the worst when it comes to its numerous sequels. After eight sequels that range from okay to unbearable, I really did not expect this year's entry to be so entertaining for me. Right from the beginning, it introduces a fascinating idea of eternal damnation by having the lost soul go through a processing of sorts before they are assigned their punishment. It's one of the most brilliant ideas for a story let alone a 'Hellraiser' sequel but the biggest issue here is the budget. This film is obviously very cheap and not all of the film's ideas get across very well due to these limitations. I still highly recommend 'Judgment' if you're desperate for another good 'Hellraiser' film.

Upgrade

To be fair, this is leaning more towards science-fiction, but writer/director Leigh Whannell created one of the best modern sci-fi films in years. Taking elements from 'Blade Runner' and the body horror of director David Cronenberg 'Upgrade' takes you on a roller coaster of constantly changing themes and emotions until your head just explodes. First it's this gritty revenge drama, then we get some comedy, then gore and horror elements. Man, this film is just all over the place but its pieced together perfectly so as not to crumble under all the madness. If you missed out on 'Upgrade', I highly recommend you catch it.

   

 Mandy

Really, all I have to say here is Nicholas Cage goes insane with a chainsaw and you're instantly hooked. 'Mandy' is a bizarre wave of ultra-violence and what one must see on every drug known to man. For a film with such a basic premise, that of a man on a mission of vengeance but twists it in such a way that there's truly nothing like 'Mandy', not now or even in the heyday of the drug-fueled 70's. It's 100% unique and for that I cannot recommend it highly enough. 

 

 The House That Jack Built

Lars Von Trier's new film over hypes itself with its shocking content a bit too much for its own good, but there is something special hidden within this one. The film's overarching story, its ideas, its religious and mythological elements take the film far beyond what's on the surface. Von Trier unfortunately frequently masks what he is trying to say with some very over the top and nasty moments. Still, it is a different experience than I'm sure many are used to and if you can stomach a bit of violence then check it out and see if it says anything to you.

  

Hereditary

Much like 'Jack' this one will heavily depend on the viewer's tolerance but not in the same way. This one is a slow burn to put it mildly and requires your utmost attention, but I feel those who do so will be greatly rewarded with a surreal and eerie horror film with some award worthy performances (screw you Golden Globes) and that final shot will stay with me forever. Hail Paimon!

Suspiria

Talk about coming out of left field, I never expected this film to be great or even good. "Remaking one of the best films of all time?! You must be insane!" said most of the horror community and while this one certainly divided people I gotta be honest, this is easily in my top three this year. It's a film that can be viewed in its own world, rather than being compared to the Dario Argento classic. It tells its own story and even with its hefty running time, I was sitting there entranced and totally invested in it to the very end. 2018's 'Suspira' is a beautiful art piece that may not click with you but it's still something you need to see at least once.

 

 Halloween

I seriously considered this to be my top pick this year but really in the end 'Halloween' is still a basic slasher movie. Don't get me wrong, it's a brilliantly done slasher and is by far the best sequel in the series. Jamie Lee Curtis's return was worth the long wait as she comes back in full form as if she never left. Director David Gordon Green and writer Danny McBride proved everyone wrong and did the unthinkable: a sequel that is almost on par with the original.

 

A Quiet Place

I know this is pretty predictable for me to pick as my top film, but again defying and going beyond the audiences expectations and not only crafting one of the finest horror films of the modern age, but doing it with minimalist techniques that ramp up the tension. A cast that cannot speak but can still act as strongly as here is the biggest proof that an actor has talent, and Emily Blunt and company are some of the finest in the industry. 'A Quiet Place' just does everything right without resorting to cheap tricks or gore but pure suspense and atmosphere. This is the best horror film of 2018.

Thank you to everyone who supports this page by coming on here and reading my funny little opinions. It really means something to me for you to all still be here after all this time. Be sure to check back in a while for my 'Worst' list. Have a happy new year readers.

  

The House That Jack Built (2018)

 NOTE: This is a review of the current 'R' rated cut of the film. The unrated cut features up to a half-hour of extra footage and it will be given its own review in the future. Thank you, and enjoy.


Lars Von Trier is a filmmaker that I am familiar with, but I am not exactly an expert when it comes to his work. The most common words one is likely to hear when reading or hearing about the director is 'controversial' and with good reason. His films are abstract, violent, disturbing, sexual, and a whole lot more than just that. So, with this being my first dip into the pool of his films I had a lot to think about once those two and a half hours were over. 'The House That Jack Built' tells the story of a serial killer played by Matt Dillon named Jack as we are told five random events from his twelve year career while getting many, many tirades about philosophy, religion, misogyny, dictators, and life & death. Honestly, it's hard to review a film like this because this lists of themes and discussions hardly scratch the surface of what I am sure Von Trier is attempting to bring to his viewers. Like his films he is a hard man to understand fully and that's what I think is the appeal to many of his fans.

 

 Let's not sugar coat this: This film revels in its controversial material, with it's entire marketing campaign and any news regarding it always discussing the audience walkout at Cannes, the film's graphic violence, and the various comments made by Von Trier over the years. It's what gets people to see his films, but it also cheapens them and feels as if he just wants to show mutilation and murder just to shock people. Von Trier seems to want to have his cake and eat it too, wanting to tell a meaningful story with artistic visuals and a lasting quality but he relies on Grindhouse style gimmicks which just lowers the overall value of the film I think. I also feel that the film is simply too long, even at it's current edited version for what the story is trying to tell the audience. The film channels strong themes of religion, particularly Dante's vision of the multi-layered Hell and you could call it a twisted form of 'It's A Wonderful Life'. We are shown these various acts or 'Incidents' as the film likes to call them in seemingly no real order other than the beginning and the very end but each individual murder Jack commits all deal with different philosophies of the character as he carries on a conversation with a mysterious old man named Verge.

Each scene also takes inspiration from real killers and it makes the already disturbing material that much more so if one knows the background of each one. The film employs the usual artsy style many films of this kind tend to do, and frankly even as a film lover it's become a cliche. Just because your film has random stock footage or like the scene above parodying Bob Dylan doesn't mean it art or has meaning. Really even directors I love like David Lynch can fall into this trap and when you lose the majority of the audience, it's hard to justify some of these choices. Where I think the film is at its strongest is in the final two acts, one taking place in an empty and quiet apartment complex, and the film's finale which I won't spoil here but the best way I can describe it is interesting and thought provoking if one chooses to do so. The apartment murder of Jack's current girlfriend is the most shocking and genuinely felt scary and tense. Jack screaming that no one is going to help, him openly admitting to a cop that he's a killer, and still he kills this woman, does awful things to her...ahem...chest and still gets away with it. That is true life horror right there, and it's happened more than once in reality and the final image of the policeman too busy with young minorities to witness Jack place a body part on his windshield is the most obvious visual queue but one of the film's strongest images.

While the film is stunning in its visuals and clearly a well made film, It wouldn't be strong enough without Matt Dillon's performance. He's very scary and plays the tropes one associates with serial killers perfectly. He practices expressions in his mirror everyday using photographs to fake empathy in one scene. If that's not scary to you, then I can't imagine what is and Dillon is clearly the standout and the catalyst to the whole picture. The rest of the cast does fine, though they are shown in such limited capacity I can't really judge them on their performances. This is Dillon's show all the way. 'The House That Jack Built' is a hard movie to review because it's clearly not designed for a mainstream audience. It's an abstract art piece that moves, and like any art you'll either see a masterpiece or an overpriced piece of junk. The film's deliberate attempts to anger and disgust its audience cheapens what overall was a thoughtful and well performed film but I still recommend it for those who can stomach the more graphic content. It's a very very fine house you've built, Jack.

Overlord (2018)

'Overlord', the new film from producer J.J. Abrams and his company Bad Robot seems to be at odds with itself. On the one hand, you have a thrilling action/drama set during World War II and on the other you have a 'Wolfenstein' like take on the zombie horror film and it's this frequent clash that gets in the way of something that could have perfect had the filmmakers leaned one way or the other. The story involves a group of soldiers who must take out a Nazi satellite in order for the Allied troops to receive air support on Normandy beach. Once at the location, they discover hideous genetic experiments being conducted by the local Nazi soldiers and scientists and must put a stop to both. Most of you who know me personally will know that I am an absolute horror movie junkie, watching even the most inane crap that's out there however, I think the horror element is sadly the worst aspect of 'Overlord'. Real-life atrocities and human experimentation was happening during this period by the Nazis and I felt that had the film gone the route of showing true human horrors, then the film would be a solid war film. The zombie/mutated people just instantly drains any reality from the picture and should have been placed in a more appropriate film.

It's not just the tone change that I feel affects it either. We are given no explanation whatsoever as to where this mysterious liquid the Nazis are using has come from, why it was under a church, and what exactly does it do beyond making undead soldiers. It reminds me of 2012's 'Prometheus' in that the film clearly wants to go in one direction, but at the last second it completely derails itself in order to shoehorn in horror elements. It just doesn't work here at all and I'm really disappointed by this because the first two acts of the film are brilliant. We get a amazing opening sequence involving soldiers parachuting out of a damaged plane, some likeable and developed characters and they each have their own unique motives and personalities that keep your attention on the film. The Nazis themselves are shown to be very over the top as one would see in an 'Indiana Jones' film and while that may bother some, the feel I get from the film is that it is trying to be a film from way back when.

The film's final act is where everything sadly goes downhill and quickly at that. It's especially disappointing that the creature effects are mostly done in CGI, which is noticeable and cheap looking for a film from 2018. I've seen smaller budget films this year like 'Suspiria' with better makeup and gore effects than in 'Overlord'. What I do love about the effects is during the big opening sequence and the gunfights which are very well shot and paced and the sound design here is excellent. I came out of 'Overlord' feeling nothing for it, but having waited a day and thinking through it, I don't feel quite as critical about it. It's not unwatchable by any means, but it's a rainy day or rental kind of movie that suffers from tone whiplash and a lackluster final act. I don't exactly recommend it, but if you do give 'Overlord' a shot just be sure to go in without the high expectations I admittedly had.

3/5

Suspiria (2018)

Dario Argento's 1977 film 'Suspiria' is a masterpiece of cinema and a film one could call a living piece of art. So naturally when a remake was first announced back in 2007 there was some skepticism among people. Well it's 2018 and we finally receive the film and while it can never top Argento's classic, director Luca Guadagnino has made a film that stands on its own merits and works as a good companion piece alongside the original. The film does keep the skeleton of the original's story, that of a young woman named Susie Bannion (Dakota Johnson) who attends a dance academy run by a coven of witches. That is where the similarities end and the film goes off the rails into some of the most intense scenes I've seen in a film this year. We are shown each perspective of the academy and its sinister happenings throughout, with characters both on the inside and some on the outside. 

As soon as the film opens, you are thrown into a world that is cold, uncaring, and very unnerving and Guadagnino keeps this tone for the next 2 & a half hours. Unlike Argento's original, which was a vast array of colors and seemed to exist in a realm of fantasy, 2018's 'Suspiria' is set in Berlin at the height of the Cold War with threats of terrorism and general disarray surrounding everything. The film is more grounded and giving the feeling of more modern witchcraft films, such as 'The VVitch'. Argento wished to tell his tale like that of the fairy tales of old, while Luca wishes to discuss issues of feminism, abuse of power, & forgetting our past mistakes. These stronger themes don't cause the remake to surpass the '77 original, but I feel this iteration could be much easier to swallow for the general audience.

One of the film's biggest strengths is its choreography and the climatic dance scene, which are shot so beautifully and I never thought before this film that dancing could be so unsettling or downright disturbing. The film's most talked about scene involving a young woman in a room of mirrors has been heavily promoted as the film's highlight, and yes that scene is a stand out to be sure but they may be over-hyping it just a little bit. I feel the film's standout is in the last half-hour, when every little puzzle piece comes into place and we finally have an understanding of what is exactly going on inside the Markos Academy. It's an insane climax that will leave you speechless and genuinely unnerved. 

'Suspiria' 2018 has a great cast, with the stand out being the always excellent Tilda Swinton. Not only does she provide that aura with her performance as Madame Blanc, but she also plays two other major characters which I won't spoil here. She gives each persona a distinct feel and they are each developed so deeply that you won't even realize they're the same woman. Not to take away from the rest of our cast who are all excellent as well, especially Dakota Johnson who has won me over after her performance here & 'Bad Times at the El Royale' & Mia Goth, who provides one of the few sympathetic and warm characters in the film. If Swinton or Johnson aren't nominated for anything I will never understand why.

The score to 'Suspiria' is provided by Thom York, whom you'd know from the rock band Radiohead. He provides a slow & sporadic score that just put you on edge, with many pieces having that ever-increasing tempo during the dance scenes that reach that crescendo ever so well. Even the film's slower pieces, such as what I assume is the main theme is a melodic piano with some electronic mixed in. This is one of my new favorite pieces of music from a film and it feels heavily reminiscent of the 'Silent Hill 2' piano theme. If you can track down the score on Amazon, I recommend a listen.

2018's 'Suspiria' could have been a shameless beat for beat remake of the classic '77 version, but instead it takes it's own path using only the basics as solid ground. While one could argue that this could have been achieved as a stand alone film without using the name and structure of another, but I feel that it's more unique qualities helps make the film stand out where other remakes stick out like a sore thumb. This is not a film for everyone that's for sure, but even if one were to hate 'Suspiria', I still recommend one should at least view it once. It will likely be the most unusual and unique experience you'll have with a film this year.

5/5

Trick R' Treat (2007)

Michael Dougherty's 'Trick R' Treat' is a true example of the diamond in the rough, surpassing everyone's expectations including its distributor Warner Brothers. Originally slated for a Halloween 2007 theatrical release, the executives made a last minute decision to send the film straight to video showing no confidence in its success. As it turns out, this is yet another big mistake big studios tend to make nowadays and 'Trick R' Treat' is now a modern day classic, one that has become a part of every horror fan's Halloween marathon list.

The film consists of different stories all taking place on Halloween night and all sharing similar themes of tradition & the consequences when one disobeys or disbelieves said traditions. Each story is connected by the cute little bugger you see above, Sam. The mascot of 'Trick R' Treat' also represents the holiday itself as a sort of guard, making sure that all respect and follow the rules of Halloween at all costs. While not every story hits the bullseye, it gets pretty damn close when compared to others in the sub-genre. Anthology films' greatest weakness is consistency, but luckily 'Trick R' Treat' has far less trouble with it than others. The film just has this youthful charm to it all because of the visuals and theming I sit down to watch it I always get the feeling of those days when one would read old fairy tales or that latest 'Goosebumps' book. It feels very nostalgic but at the same time a fresh breath of air for the horror genre.

The film is also a beauty on a technical level, taking advantage of the oranges & blacks one would associate with the holiday and just makes them bright and glowing. What I say next will likely be controversial, but I think 'Trick R' Treat' invokes the feeling of Halloween even more than John Carpenter's classic. It does everything in its power to look, sound, and feel like Halloween and if you see the film in high definition, it is truly a sight to behold. 'Trick R' Treat' is one of the best films you can see on Halloween night, with everything you'd expect and done with such style and talent to make it stand out above all others. Like Dougherty's other holiday horror 'Krampus', he just knows how to invoke the holiday spirit and inject it into everything. We need to give him all of the holiday horror films from now on, he is a master.

5/5

Night of the Demons (1988)

'Night of the Demons' is a perfect addition to one's Halloween marathon watch list. It has everything you're looking for when watching a horror film this time of year: a creepy mansion, monsters and all kinds of gory fun to make any genre fan a happy camper. The story is simple: a group of young teens on Halloween night decide to have their party at the local abandoned mansion on the hilltop (sound familiar?). Soon, they begin to be taken one by one by the demonic forces that were once kept within and its up to the remaining survivors to escape before dawn. 'Night of the Demons' works so well thanks to that genuine Halloween feeling one gets when watching it. As soon as the opening credits start, the creepy music and cartoon ghosts floating about along with a great animation sequence not only makes it one of my favorite horror movie openings, but possibly the best ever. The film never drops this fun factor which I think is what makes the film so enjoyable. Had the film tried to be serious too often, I feel it would have simply been forgotten in time, as without the charm of these fun factors the film really just boils down to an 'Evil Dead' clone.

Even with these typical horror tropes, director Kevin Tenney at least is skilled enough to put his own unique spin on most of them and the special gore and makeup effects are top notch and helps make it one of the best creature features of the 80's. It certainly doesn't hold back in terms of the nasty or the T&A, but through some great atmosphere, music, and mood that youthful Halloween spirit is still retained. The film is also a breeze to sit through thanks to its excellent pacing and the likeable cast. Even characters you're supposed to hate, like Stooge make for some great comic relief moments or they are tolerable enough that we get to see them meet a spectacular and gruesome end. As I mentioned above, the film's score is really helpful with the overall film and this is one of the better examples of how important a score can be to the horror genre when done properly. It's that fun cheesy 80's synth but with a spooky Gothic tone mixed in that makes for a great soundtrack to play in your local haunted house.

So, what doesn't 'Night of the Demons' get right? Well, if I had to point out something I'd say the film's book-ended side story. I won't spoil it here naturally, but other than to kind of nail the point home that it's Halloween it has no connection to the overall narrative. I feel that it was an attempt to homage 'Creepshow' but I could be (and very likely am) wrong but this subplot reminded me of it, but unlike that movie this one really didn't need it at all. It just feels tacked on as a last minute gotcha moment and little else. And really, that's about it. I love 'Night of the Demons' ever since I found it at my local Hollywood video one Halloween night. It never gets old for me and perfectly encapsulates the holiday for me. I highly recommend it to anyone who hasn't had the chance. SHAMELESS PLUG: Shout! Factory has a free App on Roku and Fire Stick that will allow you to stream 'Night of the Demons' for free with some ads here and there. Check it out.

4.5/5

Lord of Illusions (1995)

Clive Barker's novels are unique to say the least, standing out in the vast library of horror novels over the years. There's really nothing like them, so it's only natural that Hollywood would want a piece of this and for many years, it seems like they just miss the point. Yes as expected, only Clive himself seems to ever make good film adaptations of his work (who knew?) and today is a great example 'Lord of Illusions'. This film could have easily fallen apart before the half-way mark without Barker behind the camera, as the many themes and story twists could have come off as hokey and while I will admit there's some 90's cheese in there for sure, this is still a frequently forgotten but top notch thriller you should go back to.

The story follows Detective Harry D'Amour as he begins a new assignment that begins to lead him down a dark path, with all roads pointing to a stage magician named Swann and a mysterious cult leader named Nix. The noir elements work well with in 'Lord of Illusions' and the film unfolds each secret bit by bit with the right amount of pacing and tension thrown in. As soon as the film begins, and we are taken back in time to show Nix and his people you are instantly invested and wondering just what's going on, and what's coming next. Scott Bakula does a decent job as Harry, though a little forgettable. He's your typical private eye character and mainly serves as a way to get the story rolling. I felt the film was truly about Swann & his wife as their story comes full circle by film's end and they have the main link to the villain Nix. I wouldn't say the D'Amour character is pointless though, but he's a sort of false protagonist despite what the marketing would have you think.

The film still retains a lot of the bizarre hyper-violence and sexual themes most commonly found in Barker's work, and for a 90's horror film it surprisingly doesn't hold back when it comes to the sex and gore. The special effects are hit or miss, as was typical back then. The practical and makeup effects from KNB are just as good as ever, but its the CGI effects that stand out pretty badly. In most scenes, the image will be grainy or blurry while the special effect will be more crisp aging the film a little. The score, conducted by Simon Boswell (Hardware) is really fitting, but a little standard for horror. It sounds excellent don't get me wrong, but it's also very typical for the genre and doesn't stand out enough to make it a score to listen to on its own.

'Lord of Illusions' is one of Barker's better efforts, but out of the one's he directs himself it's also flawed in many areas in comparison. The story tends to stagger a bit, the film's special effects are dated a bit, and I feel adding the Detective wasn't necessary but the film is one I do recommend if you've run out of 90's horror and haven't checked it out. If you have seen it, give it another go this Halloween season. Oh, and be sure to see the director's cut for the best experience.

4/5

Halloween (2018)

Back in September, Universal Pictures decided to show the new entry in the 'Halloween' series to a lucky audience. The film ever since has received some very high praise and riding a big wave of anticipation until tonight's early screenings. Has all the hype been worthwhile? Has Michael Myers and Laurie Strode finally been given the film they deserve? Taking place 40 years after the events of the original film, we see how a traumatic event such as the 1978 massacre can affect someone, with both sides represented in full. Laurie Strode (Jamie Lee Curtis) has been living a sheltered life filled with sadness, paranoia, and fear while waiting for Michael Myer's inevitable escape and his vengeance on the one who got away. The film deals with themes of PTSD and abuse towards women and the outcome of the assault, all of which are current hot button issues and what will keep this 'Halloween' entry relevant for today's audience. We also see the impact both Myers and Laurie has had on those closest to her, namely her daughter Karen (Judy Greer) and granddaughter Allison (Andi Matichak) both good and bad and in the end the film is about these women becoming family and dealing with past demons.

For those who are thinking that may be a bit too forced or political in some way, I can see why but make no mistake here: this is a true 'Halloween' film and delivers on what we've come to expect while also giving us something new, something sequels tend to have trouble with. And really this is where the film is the most flawed as the first and second act play out pretty much like any other slasher and for some may seem rather out of place once that third act kicks in. 'Halloween' can sometimes suffer from tone whiplash due to some typical horror pacing and tropes but to give the film credit, they are well shot and sometimes funny. And the humor is a topic I've not heard many talk about. The film is really funny, in a way that feels natural and at the right time. A particular scene involving a child character is a big highlight and this kid needs to be in more movies. He's a funny little guy. We also get some fun moments from the many callbacks to the '78 original, including a moment during the climax that had the audience laughing out loud.

I love these callbacks (particularly the opening credit sequence that I won't spoil here) but understandably there are a few too many. Most are subtle and usually in the background somewhere, but other times certain scenes will be an almost shot for shot of the original which can be considered lazy for many reasons. I don't think this film uses them enough to warrant heavy criticism, but it is a little too much at times. What I found the most surprising is that our younger cast of teen characters are all pretty likeable and don't go over the top with their performances. Andi Matichak is really good as Allison and I'd like to see her take up the mantle if any future sequels are in place. Her friends are funny and well written as well, and we feel actual pity for them when they pass on. The worst aspects of our cast I would have to say is the inclusion of a Dr. Loomis replacement. He feels out of place, as if they needed a Loomis character but then halfway through decided to change his personality and make him a pseudo-antagonist towards the finale.

Nick Castle & James Jude Courtney are excellent as Myers, and they portray him in a much more aggressive and brutal manner. Without ever seeing his face, you can feel that pure rage in how he attacks and kills his victims. This one pulls no punches with death scenes either, being one of the nastier entries for gore effects. Fans will love a few callbacks as well as the now infamous tracking shot as Myers goes from house to house in one continuous take, butchering all who inhabit them. It's an impressive scene to be sure and just me or others speaking about it won't do it justice. I also would like to give a quick mention of the film's score, once again provided by John Carpenter but this time accompanied by his son Cody, and Daniel Davies. As soon as the score plays, you instantly know its classic Carpenter. As of this review, I have yet to fully listen to the score on its own but seeing it with the film I say its perfect and another great example of just how many talents Carpenter has.

Director David Gordon Green & writer Danny McBride have given us the best 'Halloween' sequel in years, and possibly the best sequel of the franchise. Jamie Lee Curtis knocks it out of the park with her final performance as Laurie, and fans will appreciate the many callbacks along with the newly added scenes of humor and horror. I don't think many going in would think 'Halloween 2018' would be so damned good but they will not be disappointed and neither will you. Despite some issues I had with the first half of the film, that finale makes up for it in spades. If you see one film this season, let it be 'Halloween'.

4.5/5

Prince of Darkness (1987)

John Carpenter's 'Prince of Darkness' is one that is usually overlooked even today. The film is considered the second part of the director's 'Apocalypse Trilogy' that started with his 1982 remake of 'The Thing' & ended with 1994's 'In the Mouth of Madness', all of which were at the time considered box office bombs and all of which now have cult followings. While I feel 'Prince of Darkness' is the lesser of this trilogy, there's still a lot to like here especially when viewing it during the Halloween season. The story involves a group of science students and their teacher as they are invited to investigate an abandoned church in the middle of the city. Once there, they are shown a secret underground room by a Vatican priest (Donald Pleasance) which contains a cylinder full of a sinister green liquid. Soon enough, strange happenings trap the students within the church and one by one become the victims of the mysterious entity within.

The film mixes themes of religion and quantum physics of all things, and while that sounds nutty for a premise (and don't get us wrong, it is) somehow Carpenter manages to make these themes work together and it gets you invested in the story really quickly. And it's a good thing too because without that unique concept the film would fall apart within the first ten minutes and this is mainly due to how slow the beginning is. This may sound more of a nitpick but I think the slow beginning will turn off many during their first viewing and throughout the film there's not much in terms of action, especially when comparing the film to other horror films of the time. But I feel that this slow pace and the whole film being rather quiet makes for a really uncomfortable feeling and high tension.

The film mainly falters when people begin to become possessed by the green liquid as it then devolves slightly into many demonic film tropes but even with this weaker angle, we do get some great special effects and the very ominous but subtle score by Carpenter. I think 'Prince of Darkness' is one of John Carpenter's most experimental stories and one that you can see he felt very invested in. I find the idea of multi-dimensions, religion, and quantum physics fascinating and even today has never been found in films of any genre. The film does feel unique and one of a kind in that aspect but on the other side of things, I completely understand why this movie wasn't a big success at the time. As I said before, horror films were a big thing during this period and each film was trying to top each other with more sex and gore than the previous entry so when this moody, slow-paced and psychological film came along, it was hard to reach the top of the mountain.

'Prince of Darkness' isn't one of John Carpenter's best films, but it is a good film with some interesting ideas, an overall creepy feeling to it all, and makes for good Halloween viewing. I recommend it highly.

4/5

Creepshow (1982)

'Creepshow' is a loving tribute to the EC Comics of the 50's such as 'Tales from the Crypt' and combines the talents of Stephen King and director George Romero. Keeping with the comic strip tradition, we have an anthology film consisting of five stories. The first tells a tale of revenge from beyond the grave as a snooty family gets attacked by their undead relative in 'Father's Day'. This story I feel is one of the best of the film, and is a great example of what made EC Comics so popular. Many stories dealt with revenge and this could have come straight from the page in how accurate Romero and King are. The next story is a fun and simple one starring King himself as a dopey farmer who comes in contact with a mysterious alien fungus that begins to grow at an alarming rate. This is likely the one most horror fans associate with 'Creepshow', thanks to King's funny performance but also its premise. It takes some talent to turn something as ordinary as grass and fungus and make it scary or something that could hurt you, but this story nails it while adding in some black humor to make it the most entertaining sequence of the film.

We then have a tale of a jilted lover (played by comedian Liam Nelson) who takes his vengeance on his wife and her new lover, only for it to come back to bite him hard. This is also another great example of the source material and what would become a template for many episodes of the 'Tales' television series. I don't feel this was as strong a segment as 'Father's Day', but still some fun stuff here and out of all the stories, it has the most serious tone and genuine tension as Nelson slowly takes out his wife and her new beau. The next segment is the longest but a little more mixed in my opinion. It seems 'The Crate', a story about a mysterious box containing a vicious monster seems to be the most beloved story when the film comes into discussion and honestly I don't quite understand why. The film isn't bad or anything, it's a simple monster story with some great special effects work but that's really about it. The monster isn't nearly as unique as Tom Savini's other creations and overall I just didn't understand why this is the longest story. While I am critical of 'The Crate', I think the weakest segment of the film is the final one. It's about a germaphobe who gets attacked by cockroaches and really that's it. It's gross out gags and that's about it, and this even feels like the cheapest story, only being in one big white room the whole time. It's pretty weak to end such a great film this way but thankfully we do have a fun wraparound story involving a young boy (played by King's son) getting revenge on his father after he punishes him for reading 'Creepshow' comics.

Anthology films always have issues with consistency and it seems we'll never be able to find one that's completely flawless but 'Creepshow' is probably the closest we'll get. Even after these many years, it's one of the funnest horror films you'll come across and is a must see for fans of the genre.

4/5

The Barn (2016) *Quickie*

'The Barn' is a wonderful throwback to the 80's, with lots of simple but fun special effects, lots of gore & nudity, and the right kind of tongue in cheek attitude. The film is like many of the era: A group of teens unleash an ancient evil from an abandoned barn and must now try to survive Halloween night. Let's be honest, the story isn't meant to be anything original and in the wrong kind of hands being a bad movie on purpose can lead to disaster. But 'The Barn' plays with its cheesiness well, even if the jokes or inside references aren't always the most clever. I love the creativity and research thrown in here too. Horror back then was more about how unique the killer was and the over the top gory kills he provided and 'The Barn' goes this route as well. The overall film has a deliberate cheap look to it, while in contrast the three killers all have elaborate makeup and backgrounds. The gore scenes are also fun and excessive without that serious bite of modern day horror. In fact, I'd say that a lot of the kills feel like something out of a Troma movie and I love it.

As for its visual style 'The Barn' succeeds where others tend to falter. While I loved the movie 'Grindhouse', I felt it was trying a little too hard with the scratched up film and missing reel gags while 'The Barn' pulls off the aged look with subtle little bits here and there. Even the DVD box is decorated to look like those old big box VHS tapes from the video store. I feel that for many new to horror, this film won't do much for you. Even I will admit that if it weren't for my love of movies I likely wouldn't understand what the director is trying to do here, and just brush it off as a crappy B-Movie. If you see 'The Barn' with the modern eye, you'll hate it but for those who grew up during the best decade of horror this is candy for you. 'The Barn' doesn't try to be anything different nor does it try to stand out among the crowd. It's a fun throwback for you and some friends to enjoy with some beer and junk food. It's one of the best Halloween films to watch this season.

5/5

Rob Zombie's Halloween II (2009)

With 'Halloween II', director Rob Zombie had much more creative freedom and more space to create something different now that it's no longer a remake. The end result is a film that is better than the previous one, but if only for the film's structure rather than as a whole. The story picks up with Laurie Strode having been traumatized and mentally unstable since her encounter with her brother Michael Myers. While this is a good direction to go in, as seen by the newest film taking a similar idea for its story Zombie doesn't really go far with it. Laurie is now unlikable like every other character in the film, and as I previously stated with my 'Halloween' review when the whole cast is deplorable and horrible people how are we supposed to be scared or even be surprised by any of the brutality Michael exhibits. And speaking of the film's brutality, it simply just goes too far and would even put the many grindhouse movies Zombie obviously takes influence from to shame. It's needlessly vulgar, trashy, and blood splattered and just gives the film less repeatability because of it.

So what can I say about 'Halloween II' that's not negative so as to not sound like I'm repeating myself here? Well, as expected in a Rob Zombie film the visual style is superb here and is one of the best looking 'Halloween' films to date. It was shot in 16mm which gives it a look that stands out among other horror films of its time and goes with that grindhouse look as well. I also think the performances here are a bit better this time, with Brad Dourif and Malcolm McDowell being the two stand outs as usual. Despite the characters being written as annoying or terrible people, the cast of 'Halloween II' is much better than the remake's, having much less cameo appearances and instead focusing on a core group of people rather than spreading it out too thin.

Tyler Bates returns for 'Halloween II' and he's just not a composer I'm really fond of. I'm sure there's fans out there, but like 2007's 'Halloween' his score here just sounds like your usual horror fare of the decade, but this time they can't even bother to toss in the 'Halloween' theme until the end credits. The music you'll likely want to listen to is the various licensed tunes throughout, though they are still placed in random places and seemingly don't fit with the sequences ('Knights in White Satin' during the film's prologue being a particularly strange choice). I'm honestly surprised that Zombie himself has never contributed a score of his own to his work, but perhaps he's simply too busy with directing duties. I would like to see him compose someday however as I think he could have contributed a much better sound than Bates.

If you're a modern horror fan, then you'll likely want some heavy violence and 'Halloween II' does deliver. Again though, it feels so unnecessarily over the top and brutal that it's almost comedic. Michael beats people savagely, curb stomps them, smashes their heads in over and over again, and stabs a woman almost 30 times. It's nasty and the film revels and focuses on every last detail which will turn off even some hardcore fans of the series but not so much for the graphic nature, but rather because they simply last too long. I actually witnessed people in the audience get bored while watching some of these kills and that's how you know they're just too prolonged and pointlessly grotesque.

'Halloween II' is a small step in the right direction after a so-so remake/prequel but I think the film was simply doomed from the start. People were not looking forward to this one back in 2009 and even today I don't know anyone that shows it much love. I fully understand what Rob Zombie wanted with this film, but it's just not for me personally.

2.5/5

Rob Zombie's Halloween (2007)

Rob Zombie's music is enjoyable for me personally, but even from the start his movies have been rather hit or miss. I personally enjoy 'House of 1000 Corpses' more than others but it's not hard to see how flawed it is. 'The Devil's Rejects' is still to date his best film and shows his strong eye for a unique visual look and even though the dialogue can be crude, the characters are more developed here and the film just works. Zombie has shown great love for John Carpenter's 'Halloween' through various interviews and even in his music, so it was safe to assume that during the hype for 2007's remake most people were excited. Then the film came out, and what started as a strongly divisive film has somewhat been given a little more hate than warranted. Don't get me wrong, it's not a great film, and far from being a great remake but aspects of the film do work and the film's visuals are pure Zombie which are at least interesting.

The worst part of 2007's 'Halloween' is actually not the remake aspect, but rather the first 40 minutes that act as a sort of prequel which was the original intention for the film as I understand. This prequel section attempts to show why young Michael Myers ended up stabbing his sister on Halloween night and it's the laziest way to tell a serial killer origin story. His family is stereotypical trailer trash that are vile and whorish and they can't speak a single sentence without dropping at least four F-bombs. The film gets even worse once Michael is committed because now we have abusive nurses and orderlies that rape their patients. All these characters severely undermine Michael because everyone is evil or messed up and they all make Michael seem like the least violent character in his own movie. When the film kicks into the second half when it begins to remake the Carpenter film it starts to salvage itself a little. Annie and Lynda are still obnoxious and slutty, but now so is Laurie, being way to over the top and hyperactive with Scott Taylor Compton's performance.

Thankfully, I did enjoy Malcolm McDowell's Dr. Loomis and gives his own performance while still honoring Donald Pleasance's portrayal. I also enjoyed seeing Brad Dourif as Sheriff Brackett as he always fully commits making these two the best characters in the film but sadly they're not in it as much. Tyler Mane is okay as Michael Myers. He does what is needed of him but his height and overall bulkiness really takes away his creepiness rather than increasing it. Michael was just a man of normal build but with no personality or seemingly any emotion or soul within him, hence why he's called The Shape. Making him a giant and giving him an over-stylized look doesn't work and it's strange that Zombie chose such a drastic look for him. Tyler Bates's score is really dull here, sounding like every horror film during this time. The film also throws in some rock and pop songs, some from the original films like 'Mr. Sandman' but these are mostly odd and out of place choices such as Rush's 'Tom Sawyer' which is a good song, but being placed in a scene in which a man is crapping in a truck stop bathroom makes no damn sense.

As I stated before, Rob Zombie's films all have a good visual style to them and 'Halloween' is really no different. Granted, it's the least interesting as his other work going for that grimy fluorescent look that the 'SAW' franchise would adopt but here I think it works a little better. Zombie seems to be going for a grind house or 42nd street theater flick with lots of grime, blood, and sex and visually at least I think he got his idea across well. It's just a shame that he couldn't do a similar film, but without the 'Halloween' outline. It might have worked on its own at least in a way that'd be entertaining, but despite people's best attempts it's difficult to not compare the original with this one which makes these drastic changes stand out too much. Rob Zombie's 'Halloween' isn't as bad as I remembered, but it wasn't as good as I first thought when I went into the theater. It's definitely better than some of the previous sequels, especially 'Resurrection' but it doesn't do enough to differentiate itself from other horror flicks during that time. It's simply okay and very forgettable compared to Zombie's other work.

2/5