With his latest film, Yeon Sang-ho has achieved a zombie hat trick, even by Matt’s stringent standards for the subgenre.
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Christopher Landon’s “Freaky Friday the 13th” genre riff is not nearly as clever as he thinks it is.
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Justin Benson and Aaron Moorhead’s latest may not have been the true-blue horror film we anticipated, but it’s still a stylish good time with two charismatic lead performances from Anthony Mackie and Jamie Dornan.
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In spite of one particularly striking spooky image and a mercifully grounded portrayal of autism, Come Play is an uneasy amalgam of too many incompatible genre tropes.
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Despite its narrative incoherence and bladder-busting length (by horror standards), The Empty Man is a surprisingly entertaining and engaging film.
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While the film’s message of (trans-inclusive) female empowerment is certainly more enlightened than the “women can’t handle ultimate power” implications of the 1996 original, The Craft: Legacy also loses much of its predecessor’s trashy fun, and doesn’t replace it with much else.
Apologies for the late upload. We’ve had a busy last few days. Please follow us on Twitter @ShockDoctorsPod, on Facebook at facebook.com/shockdoctorspod, or check us out on Apple Podcasts, Spotify, Stitcher, or Tune In.
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Brandon Cronenberg’s sophomore feature is a mind-bending melange of body horror paranoia, buoyed by stellar turns from Andrea Riseborough, Christopher Abbott, and Jennifer Jason Leigh. And it even has Sean Bean!
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One of the four initial entries in the “Welcome to the Blumhouse” film series, Nocturne doesn’t quite measure up to other tales of artistic obsession.
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“Name one time I was ever a bad mother.” Every time. All of the times.
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Bryan Bertino’s latest film is strong on atmosphere and boasts some genuine scares, but sometimes gets bogged down in a miasma of indiscriminate misery.
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