Tag Archives: Thriller

The Exorcist: Believer (2023)

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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.

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Margaux (2022)

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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.

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Scare Package II: Rad Chad’s Revenge (2022)

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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.

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When Evil Lurks (Cuando Acecha la Maldad) (2023)

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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.

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Primal Rage (1988)

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Director Vittorio Rambaldi’s horror film is such a silly bafflingly bizarre horror movie that even after the credits rolled, I was kind of dumbfounded. “Primal Rage” feels so much like someone wrote a teen college drama comedy about an aspiring journalist, and his love interest. And then someone had the bright idea of taking a script for a horror movie and just awkwardly wedged it right in between all the twenty something romance and growing pains with mopey aspiring photographer Sam and even mopier student Lauren. Continue reading →

The Black Phone (2022)

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Director Scott Derrickson bring to screen what is really one of the more riveting thrillers of 2022. While “The Black Phone” almost always runs the risk of getting lost in its obvious influences of Stephen King and Amblin, “The Black Phone” ends up being a truly engaging and often scary hostage thriller. This one thinks somewhat outside the box bringing us not only in to the hot seat of the character that’s been kidnapped, but it also gives us a look at the echoes that emanate with every victim that villain “The Grabber” has ever victimized and murdered.

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