A thing I always enjoyed about Roger Corman’s movies is that they were very ambitious. Sometimes they were too ambitious for their own good. Thematically, “Beast from the Haunted Cave” has a good idea. It’s an action themed heist picture but it throws in an icky monster to the mix to contribute to the horror element. A movie like this is begging to be remade, and could become a pretty fun monster picture and action hybrid similar to “Deep Rising,” per se.
Five Nights at Freddy’s (2023)
Director Emma Tammi and Universal’s “Five Nights at Freddy’s” is the product of too little, too late, as even the original article that set the template for a trend, feels outdated and old hat by now. Scott Cawthon’s horror video game was, at one time, everywhere on youtube, and in store shelves. Now that we’ve finally gotten the feature adaptation fans were clamoring for, Universal reveals an obvious fear in showing the real teeth of the video game.
The Exorcist: Believer (2023)
It’s been pretty much the consensus that “The Exorcist” is one of those rare lightning in the bottle cinematic achievements that has yet to find a contemporary in its massive sub-genre. Over the years, studios have fought to build a classic in the same vein, and now Blumhouse has tried their hand at continuing the cinematic adaptation of “The Exorcist.” While its arrival has pretty much squashed any and all attempts at forward momentum that the “Halloween” movies had, “Believer” actually ends up as a pretty okay reboot. It’s by no means as terrible as “The Heretic” but David Gordon Green has a lot to do if he hopes to achieve any kind of success with the next two films in his series.
At this point whether or not there will be a follow up remains to be seen.
Margaux (2022)
It is unbelievable how ridiculous “Margaux” is. When you approach a movie about a technologically advanced house that decides to off the residents, you can expect some level of absurdity but Steven C. Miller really goes for the throat, here. “Margaux” watches like a feature length approach of “The Ultrahouse 3000” sketch from “The Simpsons”; except it’s not as funny and ten times as idiotic. At least “The Ultrahouse 3000” was a satire and dark comedy, but “Margaux” plays everything deadpan. Director Miller plays so much of what unfolds with such a straight face, you have to eventually wonder if he’s just jerking the audience around.
Benny Loves You (2019)
If you invest in a ride that’s more about senseless gore and grue with a killer doll on a rampage that feels like a long, internet comedy skit, Karl Holt’s “Benny Loves You” might just satisfy your appetite. I’m not one that ever really turns down a movie about killer dolls or puppets, so “Benny Loves You” kept my attention most times. It’s weird, and bizarre, and gloriously deadpan. Plus, Benny is such an interesting and menacing monster, that I bought his ability to inflict sheer chaos on anything with a pulse.
Scare Package II: Rad Chad’s Revenge (2022)
It’s not exactly a secret that I just didn’t think much of Aaron Koontz’s 2019 horror comedy anthology “Scare Package.” Despite its best intentions and love for the genre, as a horror anthology I just wanted something new and just more. The horror anthology is a difficult platform for a lot of filmmakers, and “Scare Package II” doesn’t re-invent the wheel at any turn. As a horror comedy that spoofs “Saw” (and a slew of other horror movies) wholesale, it’s a solid film. As an anthology, the wrap around narrative does little to compliment the four mixed bag horror segments.
When Evil Lurks (Cuando Acecha la Maldad) (2023)
I think over time Demián Rugna’s horror film “When Evil Lurks” will become a monstrous classic that will be explored by a lot of the horror fandom. A lot like Lucio Fulci, and or Mario Bava, Rugna’s film is dependent a lot on striking, often disturbing imagery. Said imagery tends to compensate for a lot of the film’s incoherence and ability to leave us absolutely confused and dumbfounded. I’d be hard pressed to call “When Evil Lurks” a masterpiece, but it sure is a great horror film. Director Rugna, like the aforementioned directors, is big on mounting terror and suspense, leading us in to a pacing that is slow in the beginning but throws us head first in to explosive twists and violence.