A group of friends heads to paradise, visiting islands and boating to help of their own forget a bad breakup. Soon, they find themselves stranded as a shark starts hunting them.
A passenger jet takes off for a long voyage, during said voyage a passenger releases a bio-terror threat. As the passengers get sick one by one, the jet takes the decision for an Emergency Declaration.
Two women hiking through the desert to their possible freedom from a cult are confronted by the reality that leaving this cult may not be as simple as physically leaving it. Continue reading
In the age of COVID there’s a re-emergence of virus horror films (like it or lump it), and “Virus :32” is one of the many that’s unique. It’s unique in that it really wants to be considered a part of the “28 Days Later” canon, even lifting bars from the score track “In the House.” It’s not to say that “Virus :32” is a bad movie. It’s actually a very solid survival horror drama if you’re hungry for a good zombie picture and have nothing else at hand to watch.
One thing is for sure, EPIX in America sure does love Stephen King. Even when they’re not airing shows based on his work, they’re offering up shows that feel very much inspired by his work. “From” is a series that thrives on being as mysterious and cryptic as possible. Compared left and right to “Lost,” the series from John Griffith and the Russo Brothers ends that analogy as a series about strangers stuck on a deserted plot of land that they have to survive in, and look for a way out of. Beyond that, a lot of “From” is a harrowing mystery that terrorizes its audience, while never quite explaining what it is unfolding around us.
This is the follow up to Tobe Hooper’s 1974 horror classic “The Texas Chainsaw Massacre.” Not Part 2. Or “The Next Generation.” Or “Texas Chainsaw 3D.” No this is the official, official (seriously this time…?) follow up to “The Texas Chainsaw Massacre.” Really it’s a legacy sequel that pretty much takes from David Gordon Green’s “Halloween” movies and depicts Old Man Leatherface who is no longer an agent of chaos, but a cleverer, slicker, scarier slasher.
After Spielberg’s “Jaws” took the world by storm, every studio took it upon themselves to create their own facsimile of the killer shark film. They hoped to cash in on the film’s momentum, and from that a whole sub-genre was created. And from “Alligator” there was the sub-sub-genre of Killer Croc and Alligator movies. For that you can attribute to the classic urban legend of sewers being a virtual haven for massive killer crocodiles, thanks to hapless tourists bringing home gators for pets. Writer John Sayles has no shortage of scenes involving the alligator lurking in the sewers and waiting for victims to enter its domain.
A father and son living off the grid in a post-apocalyptic/post-wart situation soon find more and more outsiders coming closer and closer to their home. As decided by the father, they dispatch them one by one, until one day, the son sees a woman and cannot bring himself to follow his father’s others. After his father is wounded and he needs to find medicine, he finds her and meets her, leading to questioning everything he thought he knew.