The Cenobites themselves get a little bit watered down from their nigh omnipotence in the original film, but the settings and effects are great for the meager budget and do as good a job as anyone could reasonably do of translating the twisted vision of Clive Barker to the screen. Mike Flanagan When one hears that the central focus point of Oculus is a haunted mirror, you expect a fairly self-contained ghost story, but this recent release proved to be a surprisingly ambitious concept from a promising horror director, Mike Flanagan. Sophia may hear phantasmagorical noise coming from beneath the floorboards, but then substantial spans of time pass without anything else happening, and we begin to question, as she does, whether it was something she did wrong maybe, when tasked with not moving from inside a small chalk circle for days at a time, she screwed up that portion of the ritual by allowing her urine to dribble outside of the boundary or whether her grief has blinded her to an expensive con. Na Hong-jin The U. Vincent, in her filmmaking debut. And unlike Curse of Chucky, most of the FX are rendered practically, to boot. In the end, something definitely happens, but its implications are so steeped in the blurry lines between Christianity and the occult that I still wonder what kind of alternate realms of existence Gavin is getting at.
The Cenobites themselves get a little bit watered down from their nigh omnipotence in the original film, but the settings and effects are great for the meager budget and do as good a job as anyone could reasonably do of translating the twisted vision of Clive Barker to the screen. What We Become is well shot and handles its minimal story effectively, but it struggles somewhat to justify its own existence. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Damici, as in the previous film, is the real highlight, having become even more of a grizzled font of wisdom over the years. Second is the tangible sense of physicality the film manages in its scenes of violence, which are satisfyingly visceral. Essentially a one-woman, one-location show, it follows a rookie police officer on her first day on the job, working the overnight shift in an old police station that is about to be shuttered. Films like this are careful to not present any of the other characters as equally or more sincere in their desire than that protagonist, because that would introduce real moral ambiguity rather than the illusive choices here. Don Mancini Curse of Chucky is one of those rare cases where a direct-to-video horror film exceeds its limited aspirations and makes a case for getting a theatrical release. It was simply too frightening to deny, and that is worthy of respect. The titular Troll Hunter extraordinaire is played by the affable comedian Otto Jespersen, who brings the entire monster premise to an entirely different level through his nonchalant attitude. James Wan Let it be known: Yet it wants to be both. Its intensity, effects work and unrelenting nature set it several tiers above the PG horror against which it was primarily competing. It would be a great movie to put on during a Halloween party, provided your guests have very strong constitutions. The sequels, feel free to ignore. With that said, the performances are cheesy as hell—from both the adults and children. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. It is, in other words, the kind of horror film that transcends genre and reaches that rare but exalted sweet spot of touching on genuine human fears. Unlike Let the Right One In, The Transfiguration may not be a vampire movie at all, but a movie about a lonesome kid with an unhealthy fixation on gothic legends. Some scenes use a CGI Chucky presumably to save costs , and the results are absolutely abominable. Jonas Alexander Arnby Puberty can be horrifying. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with an exclusive for Netflix , Little Evil. Ultimately, Cult is a far better entry than you could ever hope for in the seventh film of a horror franchise, and it should be commended for that. Shideh Narges Rashidi is cast as the tough heroine fighting back against greater hostile forces—a horror movie archetype that takes on even more potency in this setting. The simple structure of this documentary involves in-depth interviews with eight people who all suffer from some form of sleep paralysis as they describe the horrifying visions they encounter on a nightly basis. We glide through the house with minimal, whispered dialog and occasional narration, and although it does build a palpable sense of unease, the payoffs are few and far between.
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