Despite being well-made and periodically effective, Danny and Michael Philippou’s film left us cold. We wouldn’t mind seeing the hand come back, though.
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Samuel Bodin’s dramatically under-promoted film features a few good scares and some deft camerawork, but the parents were written without depth and the film is sometimes paced too much like a trailer.
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James Wan’s second franchise ends with a whimper. It’s not a trainwreck, but it’s also just not that good.
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Anthony DiBlasi elected to remake his own film, 2014’s Last Shift, and frankly, he did better the first time.
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A fairly run-of-the-mill adaptation of a minor Stephen King work, this film is not without craft, particularly in its careful control of just how much of the Boogeyman you see.
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A gorgeous and visually striking tone poem, Mark Jenkin’s film might leave you wanting in the story and character department.
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A promising beginning is entirely drowned in a tidal wave of bad screenwriting and shoddy direction. Jena Malone and Danny Huston deserved better.
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Refreshingly not about capital-T trauma, Lee Cronin’s entry is another win for a franchise that, in 40 years, has yet to miss.
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A few nice early touches and Nicolas Cage’s committed performance are undone by Renfield‘s being half a cop movie – and not a particularly good one, at that.
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Featuring some Raimi-esque pulp and an engaging performance from Russell Crowe – ropey Italian accent and all – Julius Avery’s latest film is a solid entry in the exorcism subgenre.
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