The Vigil adds a relatively strong and low-key entry to the decidedly mixed bag of the Jewish demon horror subgenre.
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Not to be confused with the James Wan-produced mess that we reviewed a while back, Jayro Bustamante’s film gives the well-worn legend a politically-conscious twist.
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In Matt’s words, “Praise be, praise be.” Saint Maud has finally arrived, and it does not disappoint.
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The deft noir flourishes and political subtext of Jeff Barnaby’s zombie thriller complement, rather than detract from, the delightfully gooshy practical effects and post-apolcalyptic chaos.
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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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