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In 1989, a young boy is kidnapped by a local madman and raised to be a soulless killer. When Allison makes the mistake of trying to save him, she becomes trapped in the pair's murderous game! Director Stevan Mena returns with a bloody tale of nature versus nurture that takes us back to the slaughterhouse in BEREAVEMENT, the highly-anticipated prequel to 2004's hit MALEVOLENCE. Anyone who may have written MALEVOLENCE off as being cheap imitation will have much to consider now. Mena demonstrates all of the same skill and control as he had shown previously, but this time without the obvious references to HALLOWEEN or TEXAS CHAIN SAW that may have lessened the impact for some viewers. BEREAVEMENT is a much different film than before, focusing far more on the personalities of the characters and the psychosis of the killer. This, again, is no FRIDAY THE 13TH. The people presented on screen are smart, realistic, and rounded individuals. We care for them, and as a result, the tension and suspense soar because we do not want to see them get hurt. Their deaths have meaning. Mena has put together a much stronger cast, with exceptional performances by Michael Biehn, John Savage, and Alexandra Daddario. The biggest praise goes to Spencer List in the role of Martin, however, whose emotionless performance and unflinching expressions capture the essence of the character perfectly. List is never assumed to be evil, he is just blank. The success of BEREAVEMENT lies solely on the believability of this performance, and List excels in the role. With key cinematography by Marco Cappetta, another thrilling score, and a more intelligent script overall, BEREAVEMENT shows an advancement in style and form for the now-established director. The Masters of Horror will need to scoot over to make room for Stevan Mena at the dinner table. -Carl Manes I Like Horror Movies

After a messy divorce, Mary is left to live alone in a new home... Or so it would seem... Mary begins receiving strange phone calls from an old woman that claims to be from the past, and the two strike up an odd friendship until Rose begins to show cracks in her fractured personality. Every time Mary upsets Rose over the phone, Rose is somehow able to manipulate the past to cause trouble for Mary in the future, with dire consequences! THE CALLER gets off to a thrilling start, but eventually digresses into the supernatural equivalent of BACK TO THE FUTURE. By the end, the film becomes so laughably absurd and far-fetched that it loses all credibility. Twisted timelines require a huge suspension of disbelief, and often result in plot holes and logical inconsistencies. THE CALLER is no exception. The dramatic events that Rose initiates in the past have only a single small impact on the future. This leaves the audience focused on their confusion, and not on the film. While these things often distract, THE CALLER is fairly played by TWILIGHT's Rachelle Lefevre, and director Matthew Parkhill does manage to bring a creepy mood to an otherwise messy script. -Carl Manes I Like Horror Movies

Young Sally comes to live with her father in a beautiful old estate that he and his new girlfriend have been renovating to resell. Sad and lonely, Sally takes to wandering throughout the house, when she begins to hear whispers calling her to come play. After discovering a hidden doorway that leads her down into a long-forgotten basement, Sally learns of an ancient race of faeries that live deep beneath her new home, but once she releases from their rusty tomb, the creatures terrorize Sally and her family as soon as the lights go out in the house! DON'T BE AFRAID OF THE DARK stands as one of the best Gothic fairy tales since PAN'S LABYRINTH, which shouldn't come as a surprise considering Guillermo del Toro's involvement in the screenplay. Director Troy Nixey has modeled the look of the film after traditional haunted house pictures like THE INNOCENTS, while adding a group of mean-spirited little imps that live off of the blood of children. Their whispers in the dark that beckon Sally to join them are quite chilling, but Nixey takes great care in keeping his creatures hidden until just the right moment... Del Toro's script draws from classic storytelling elements and childhood fears that any viewer can relate to. Katie Holmes and Guy Pearce are each good in their respective roles, but it is Bailee Madison that steals the show as young Sally. Her excitement and terror are heartfelt and real, heightening the emotional impact of the film. The only room left for improvement for newcoming director Troy Nixey lies in subtlety. DON'T BE AFRAID OF THE DARK is built on a rising terror, but Nixey also includes a few gratuitous moments of gore that the film could do without. They immediately shift the mood from creepy to shocking, which goes against the carefully-crafted suspense that he has developed. Several unnecessary shots use sweeping camera movements and conspicuous computerization to take us through long corridors and into the ventilation ducts where simple dissolves would have been much more effective. Minor complaints aside, DON'T BE AFRAID OF THE DARK is an excellent entry into the Modern Gothic revival that may even top the 1973 original. Beautifully shot and surprisingly scary, it is a must-see for all Horror fans! -Carl Manes I Like Horror Movies

Baby Doll imagines an elaborate fantasy world in which she plans her escape from a corrupt mental facility after being institutionalized by her abusive stepfather in Zack Snyder's **** PUNCH from 2011. **** PUNCH is a visual knock-out with mind-blowing special effects and non-stop action that will leave you breathless! Snyder has assembled the perfect cast for this exploitation/fantasy cross-over that take the otherwise empty characters and blow them up into larger-than-life super-heroes. **** PUNCH pushes teen fetishism to the edge with its ultra-sexy heroines that are armed to the teeth with swords and guns, taking on everything from dragons to samurai warriors, undead **** soldiers, and futuristic androids in their skimpy schoolgirl outfits. It is so easy to become entranced by the cute girls, stunning fantasy worlds, and huge explosions that minor things like plot and character hardly seem to matter. Recommended for fans of 300, SIN CITY, and MUTANT CHRONICLES. -Carl Manes I Like Horror Movies

The ever-growing popularity of the Horror remake has not escaped the tragic town of Woodsboro, and Sidney Prescott's return home sparks a new series of murders that have been fashioned after her first encounter with the Ghostface killer! SCREAM makes a surprising comeback after a decade away from the screen, teaming series creator Kevin Williamson with Wes Craven once more in what is easily the best sequel in the franchise. The new script is just as sharp as Ghostface's knife, never missing an opportunity to poke fun at modern Horror trends or the series, itself. Some of the greatest moments are achieved by exacerbating the concept of the metafilm to the point of lunacy, essentially creating a film about making a film about a film about films. The tagline promises a "New Decade. New Rules." As we have come to find out from the previous films, the only New Rule is that SCREAM breaks all the rules. Plot contrivances aside, the film legitimately keeps the audience guessing until the very end, never knowing which cliche will be the next to suffer. Williamson has taken a clever approach to the remake as only the SCREAM films can, using the remake as an integral plot device towards something wholly original. While it is still as sappy and pretentious as each of the earlier entries, SCREAM 4 is equally entertaining for fans of the series. Neve Campbell, Courtney Cox, and David Arquette are each at home in their returning roles, and even the newcomers earn passing grades. One can only hope that the inevitable sequels continue to uphold the same level of intelligence and humor shown in this fourth film. -Carl Manes I Like Horror Movies

Alice returns to destroy the evil Umbrella Corporation once and for all, but her journey leaves her trapped with a small band of survivors in an abandoned prison compound that is surrounded by thousands of the undead. It will be up to her to find an escape and lead the group to the safe haven known as Arcadia. Paul W.S. Anderson has outdone himself once again in RESIDENT EVIL: AFTERLIFE, creating the most mindless and over-budgeted entry in the series. Anderson's complete lack of concern for story and character is more apparent than ever. From beginning to end, there is no progression or expansion on any of the events from the previous films. It is an unnecessary chapter at best, and a boring one at that. Several new characters are introduced from the video game series, only to be given fewer lines and background than they had in their playable forms. The one place where RESIDENT EVIL continues to excel is in the fast-paced and explosive action sequences, although most are self-indulgent attempts to exploit the 3-D gimmick used in the film's theatrical release. Unfortunately, the open ending lends proof that Anderson's career will continue onward to bigger (but not better) things. -Carl Manes I Like Horror Movies

Francis Ford Coppola gives the ageless vampire a terrifying new update in 1992's DRACULA. Coppola uniquely adapts the letters and journal entries from the original novel onto the screen in this stylish retelling. DRACULA may be the single most horrifying film of the 90's. Its lavish set pieces drip Gothic allure while its abominable creature designs have escaped from a world of nightmares. Why, then, did Coppola decide to drag it through the mud by hiring such an inappropriate cast? Keanu Reeves and Winona Ryder couldn't have been worse choices as Jonathan Harker and Mina Murray. Judging by the film, one might think that Dracula drains his victims of talent. Their despondent performances dispel the romantic fantasy that is unraveling all around them. The great Anthony Hopkins has his hands in the matter too, with a boisterous take on Professor Van Helsing that comes across as a drunken fool. Despite his dramatic overacting, Gary Oldman proves himself the actor of the bunch, and puts forth a performance that is chilling to the bone. Just one look at his withered old Count is enough to make the skin crawl, and the buxom brides that stalk his chambers are none less frightening. From a visual standpoint, Francis Ford Coppola has directed a masterpiece of Gothic cinema, but for all of its lurid style and grace, DRACULA lacks soul. -Carl Manes I Like Horror movies

In August, 1973, five teens set across the Texas highway on their way to a concert, when a chance encounter with a suicidal hitchhiker forces them to stop for help. As they wait for the town's hick sheriff to collect the body, two of the teens run off to a nearby house to use the phone, where they come face to face with a murderous clan of cannibals and their chainsaw-wielding son, Leatherface! THE TEXAS CHAINSAW MASSACRE is reborn in Platinum Dunes' 2003 remake, but where so many other attempts to revitalize the 1970's and 80's Slasher craze have failed, THE TEXAS CHAINSAW MASSACRE succeeds in shocking and terrifying a whole new generation of moviegoers. It is just what a remake should be, honoring the original with the same basic plot outline and characters, while creating its own unique identity and mood. Marcus Nispel's washed out color palette is drowned in putrid greens and blues, which give the misty forest and dilapidated hallways of the Hewitt household a sickening overall effect. While this version does feature more gore, it is not built on simply disgusting the audience, but takes just as much time developing a deep-seated terror and suspense. This creates moments of intense anticipation that pay off in jolting shocks! Although Nispel has chosen to fill the cast with familiar teen favorites, Scott Kosar's script makes them likeable characters with whom the audience can relate. The best choice obviously comes in the decision to hire R. Lee Ermy, whose crass behavior and vulgar humor make him perfect in the role of Sheriff Hoyt. Ermy dominates the film, and becomes even more sadistic and frightening than Leatherface, himself! Andrew Bryniarski's fast and forceful approach to the character makes him very imposing as well, even if he falls slightly behind Gunnar Hansen as the iconic killer. TEXAS CHAINSAW MASSACRE may not leave the same lasting impression as its predecessor, but its horrifying, edge-of-your seat excitement easily makes it the best remake to come out of the 2000's. -Carl Manes I Like Horror Movies

TEXAS CHAINSAW MASSACRE takes a step back in time to reveal the origins of the infamous Hewitt family in TEXAS CHAINSAW MASSACRE: THE BEGINNING. A deformed child is rescued and raised by a penniless family out in the sticks of Texas, a family that is forced into cannibalism when the local slaughterhouse is put out of business. Unfortunately for a group of travelers who are on their way to Austin to enlist for Vietnam, this means that they are the next item on the menu! For the most part, THE BEGINNING keeps up with the remake that preceded it, but as a prequel it falls into many unavoidable traps. The filmmakers feel obliged to as many questions as possible in only a limited amount of time, which leads to a number of plot contrivances. Here, we learn where Thomas Hewitt got his saw, why Hoyt became the sheriff, how Uncle Monty lost his legs, and where Leatherface got his nickname... All in the same night! For a family whose killing spree lasted over four years, this just seems forced. The political weight of Vietnam is also heavier load than the film can bear, and comes off as being ignorant and ungenuine. THE BEGINNING is the bloodiest of any of the CHAINSAW films, however, with many graphic and gory murder scenes. A decent follow up, and still one of the better sequels. -Carl Manes I Like Horror Movies

It should have seemed clear to Wes Craven that THE HILLS HAVE EYES was a film best left unto itself after the abysmal follow up he aborted on to the screen back in '85, but for some god awful reason, Fox decided it would be a great idea to allow Wes and his son Jonathan to write another sequel. The second attempt on THE HILLS HAVE EYES 2 is perhaps even worse than the first, save for the gory effects. It follows a group of the most untrained, annoying, and childish 'soldiers' the world has ever known as they investigate an abandoned research facility out in the deserts of New Mexico. As they soon find out, the lab was set up to find evidence of the rumored cannibal clan that was supposed to haunt the location, and more murder and mayhem ensues. THE HILLS HAVE EYES 2 is drowned in poorly drawn characters and dreadful dialog that has the audience cheering for each death. Anyone unfortunate enough to sit through the entire thing will at least be privileged to some excellent brain-splattering and gut-munching goodness, but the pain and suffering endured throughout the rest of the plot hardly seems worth it. It is better to forget that this sequel was ever made in order to spare yourself the unnecessary waste of time. -Carl Manes I Like Horror Movies

The Rage virus has wiped out nearly all of England, turning its infected into murderous killers driven only by their need to feed. Now, a handful of unlucky survivors are left to find an escape from the nationwide pandemic. In 2002, Danny Boyle shook the Horror genre with a refreshing new thriller that redefined the zombie movie and terrified audiences around the world. 28 DAYS LATER offers a nihilistic world view in which humanity is the ultimate villain. Man's attempt to dissect and control nature is what caused the deadly virus, and while the infected mindlessly attack out of the primal need to feed, it is the living characters that kill out of fear, paranoia, and selfish desire. As best portrayed by the corrupted band of soldiers in the end of the film, it is darkest human emotions that drive home the suspense in 28 DAYS LATER, with the added horror of infected flesh-eaters running in the streets. The infected are unlike any of the undead that we have ever seen before. They are fast and ferocious, bursting through windows and tearing into their victims with a shocking speed. This would become a popular trend in the zombie films to follow, the most notable example being Zack Synder's frightening update to the Horror classic DAWN OF THE DEAD. Boyle's decision to shoot 28 DAYS LATER on a digital camera delivers a grim sense of reality, which is darkened even further by the dreary score. He also creates one of the defining moments in recent Horror as Jim walks aimlessly through the deserted streets of London. 28 DAYS LATER has a devastating effect on the viewer, and has proven to be one of the best films from the 2000's. -Carl Manes I Like Horror Movies

Beetlejuice, Beetlejuice, BEETLEJUICE!! 'The Ghost with the Most' is brought back from the afterlife thanks to Tim Burton's twisted imagination and the wacky writings of Michael McDowell and Warren Skaaren. In order to rid themselves of a pesky new family, a recently deceased couple hires the obnoxious ghoul Beetlejuice to perform a "bio-exorcism" and earn back their house! BEETLEJUICE is filled with oddball characters and eccentric performances from the entire cast. HOME ALONE's Catherine O'Hara is wickedly funny as the family's New Age hipster wife, who is married to Jeffrey Jones in another of his quirky character roles. A young Winona Ryder plays their morbid daughter Lydia, the one person who is able to communicate with the dead. And then, of course, there is Michael Keaton in the most unusual and unexpected performances of his career. Beetlejuice is crass, vulgar, and disgusting... And we love him! He is the undead equivalent to the classic Acme characters pushed to their fiendish extremes. The make-up and special effects are superb and highly original, combining traditional stop-motion animation with modern prosthetics to bring each of the otherworldly creatures back to life. Like GREMLINS and GHOSTBUSTERS before it, BEETLEJUICE is another classic comedy that 80's horror fans are sure to love! -Carl Manes I Like Horror Movies

The ill-conceived CONAN THE BARBARIAN remake is an absolute mess of a film that places bloody violence and over-budgeted effects over character and story. While it attempts to remain closer to the works of Robert E. Howard, it lacks the heart and epic qualities of Howard's writing. The casting is like a bad joke. Jason Momoa may look the part, but his over-confidence and exaggerated expressions come off as being silly instead of stern and powerful. There is no consistency whatsoever in the accents or dialects of the various groups of people that Conan encounters in his travels. The world of Hyboria is dramatically reduced as a result, especially considering how quickly Conan is able to travel from land to land in search of his betrayers. Most of the story and background are related by an unseen narrator, who quickly tries to piece things together for the audience in between the overblown action sequences. Zym is a bland and forgettable villain that would cower before James Earl Jones' Thulsa Doom. What is worse, the grand scheme that has taken him over 20 years of battling and searching to complete is spoiled in one brief and unsatisfying final conflict. This consists mostly of unbelievable feats and unnecessary computerization. The only entertainment comes from the absurd amount of bloodshed and heavy reliance on nude wenches. For mindless sword-fighting and mayhem, CONAN is a serviceable action flick, but in all other ways, it is utterly underwhelming. -Carl Manes I Like Horror Movies

Set in the years following the Second World War, DOMINION tells the tale of Father Merrin, a wayward priest who has turned to archaeology after his faith is shaken by the war. When Merrin uncovers an ancient church buried beneath the sands of East Africa, he will share his first encounter with the devil, who has possessed the body of a poor crippled boy. Despite being shelved immediately after production, Paul Schrader's prequel to THE EXORCIST was simply too good to be released to the general public. Instead of spinning heads and spewing soup, DOMINION takes a much more cerebral approach to evil. Interestingly, Schrader creates a complete reversal from the original film: the demon possesses the body of a sickly boy, it strengthens and repairs him rather than destroying him, and it uses its wicked tongue to rattle the nerve rather than shock the senses. Pazuzu taunts Merrin and attempts to destroy him both mentally and spiritually. Like the fallen angel Lucifer, it appears as the perfect being, an intellectual tempter with a sculpted body and androgynous beauty unlike the foul monster that Merrin would encounter years late. Pazuzu's evil spreads like a plague in the small African village, and turns man against man while the fallen priest works to regain his robes. The corruptive power of evil is felt in full force here, although Schrader takes slow but decisive steps to reach his final goal. While DOMINION has often been criticized for its unfinished effects, it is rarely hailed for its superior setting. The ancient Byzantine tomb is finely decorated, and serves as an ominous stage for the spiritual warfare. Given the studio's complete lack of faith and resources, the garish computerization must be overlooked in place of the stronger story elements. Stellan Skarsgård is very good as the younger counterpart to Max von Sydow's character, with an introspective approach to the character that is reserved without being underplayed. He gives us cracks in his otherwise stern performance that humanize him and allow us to empathize with his internal struggle. Like Skarsgård, Schrader pulls back as well, refusing to rely on simple shocks in this psychological thriller. His unwillingness to compromise in creating a "studio" picture may have hurt the returns, but in the end, he delivers a much stronger film. Renny Harlin would be brought on to re-write and re-shoot the entire picture after Morgan Creek decided to pull the project for its lack of marketability, but between the two versions, DOMINION is the preferrable prequel to THE EXORCIST. -Carl Manes I Like Horror Movies

A lone hero stands between the forces of evil and the rest of mankind. His name is Dylan Dog, the world's finest paranormal investigator! When a wealthy collector is slain by a mysterious creature of the night, Dylan is hired to track down his killer and locate a stolen artifact with the power to bring about the end of the world! Kevin Munroe makes an ambitious attempt to bring the classic comic character to life in the self-titled film, and while the film falls short on many levels, Munroe does manage to deliver a fun, action-packed hour-and-a-half that remains true to the spirit of the character. The script retains much of the same great humor from the comics, with plenty of quick quips and wicked puns to entertain the masses. The body shop--where zombies go to buy replacement parts--is one of many hilarious additions. Dylan is played by SUPERMAN RETURNS star Brandon Routh, who feels slightly displaced in the role. He misses out on many great opportunities because of his dry, listless performance, but there are several moments where he finally clicks with the character. Routh is joined by DETROIT ROCK CITY's Sam Huntington as Dylan's silly sidekick Marcus, who is just learning to live with his deathly disposition. Unlike Routh, Huntington takes the role way too far over the top. The creatures and costumes are all very good, with everything from vampires, to werewolves, to mounds of the undead that are all waiting to keep Dylan occupied. Dylan also appears in his trademark red shirt and black jacket to battle evil the old-fashioned way. DYLAN DOG: DEAD OF NIGHT is an inspired blend of film noir, action, comedy, and horror that Buffy fans are sure to enjoy! -Carl Manes I Like Horror Movies

A family of four is torn apart after adopting a seemingly sweet and intelligent Russian girl. Her mysterious past catches up with them as a series of accidents befall the family members and anyone else that crosses Esther's path. ORPHAN was a big hit upon its release in 2009, despite its many setbacks that keep it from becoming a classic in the killer kids genre. The character of Esther is written and played far too menacingly for her to remain unnoticed. There is no ambiguity in her actions, as she is clearly portrayed as being evil from the very start. As a result, much of the film relies on the shock of her actions rather than the build up or suspense leading up to them. It does, however, manage to maintain the mystery behind her shady background long enough to give the audience one final surprise! Esther's adopted parents are easily the most frustrating parents in recent Horror. Her crackpot mother is irritating and irresponsible, while her idiot father stands completely oblivious to her evil ways in light of the horrible tragedies that are affecting his family. They gain no sympathy or support as a result. If films were graded solely on their twist endings, ORPHAN would rate at the top of its class, but the carelessness of the writing cannot be overcome by the clean cinematography or Isabelle Fuhrman's creepy performance as Esther. -Carl Manes I Like Horror Movies

He's super bad. He's outta sight. He's... BLACK DYNAMITE! Michael Jai White stars in this hilarious parody of classic Soul Cinema. Black Dynamite hits the streets to find the man responsible for his brother's murder, but he uncovers a much more sinister plot that involves crooked cops, drug-dealing pimps, and a trail of evidence that leads all the way back to the White House! The creative team behind BLACK DYNAMITE has struck comic gold with their new cult-sensation. With the help of talented wardrobe and location scouts, Scott Sanders has truly allowed this film to walk out of the 70's. Every suit, every store, and every line of dialog feels authentic to the era of Blaxploitation films, while the script brilliantly highlights all of the unintentional humor and absurdity found therein. Visible boom mics and out-of-place edits are only a few of the entertaining visual references, but the clever dialog and straight-faced performances are what make this a classic. Sanders even uses the Super 16 color reversal process to give BLACK DYNAMITE a vintage look that succeeds even over major throwback pictures like Quentin Tarantino's GRINDHOUSE double-bill. While featuring a number of hysterical cameos by top comedians like Arsenio Hall, Tommy Davidson, and screenwriter Bryon Minns, no one can top Michael Jai White as Black Dynamite. He is a bad ass motha' and the ultimate ladies' man, rightfully earning his place beside cult heroes like Shaft and Dolemite. On top of that, White is insanely funny, and plays into the ironic nature of the script perfectly. Although BLACK DYNAMITE does require a basic underlying knowledge of the Blaxploitation genre in order to fully appreciate the humor, it is still a twisted treat for any fan to pick up and enjoy! -Carl Manes I Like Horror Movies

Go back to where it all began in RISE OF THE PLANET OF THE APES! A brilliant researcher has developed a new serum that has the potential to cure Alzheimer's, but when his test subjects are killed following after a failed experiment, he is left with only one chimp. Will raises Caesar as his own, as his intelligence begins to grow at an alarming rate. After a freak attack against one of the neighbors, Caesar is forced into a wildlife rescue, where he and each of the other animals are abused and tormented by their jailers, forcing Caesar to rally the other apes in a revolt against humanity! RISE OF THE PLANET OF THE APES provides a fitting beginning to the fall of mankind, although a sequel certainly seems eminent. Rupert Wyatt brings the film to life using astounding special effects and heart-pounding action that are sure to keep you on the edge of your seat! Although James Franco and John Lithgow attempt to inject some forced sentimentality into the earlier scenes, the main focus always remains on our anti-hero chimp, Caesar. Through cutting-edge motion capture technology, Andy Serkis is able to give this fully-computerized character true life, with personality, heart, and soul that read through his eyes and expressions. Caesar gains sympathy and support in his struggles against mankind, as he suffers time and time again at the hands of his captors. Watching RISE is a bit of an Easter egg hunt as well, with clever cameos and allusions to the other films embedded playfully throughout the script. The only real misstep is that the long running time only provides the beginning to the beginning of the story, and never amounts to the full-scale planetary take-over by the super-intelligent apes. The strengths and successes will surely allow for a continuation in the next chapter, however. -Carl Manes I Like Horror Movies

The 2006 remake of BLACK CHRISTMAS was doomed to fail from the very beginning, and yet it is surprisingly one of the most entertaining entries the Slasher genre has seen in years! Glen Morgan never attempts to recreate the suspense and mystery of the original, and instead delivers an absurdly hilarious and over-the-top gorefest to bring some holiday cheer to Horror fans. Once again, the Delta Alpha Kappa house is receiving intimidating phone calls on Christmas Eve, the same night when a deranged psychopath killed his family at that very house years earlier. What they don't know is that Billy has escaped from the mental institute and returned home for the holidays! From the very beginning, we are introduced to both villains, which destroys the ambiguity of the original story. In doing so, however, we get to see the makings of these two insane killers in a series of twisted flashbacks. It is no wonder Billy turned into such a model citizen given his pathetic childhood and abusive mother. Back on the loose, he and his inbred daughter wreak terror on the dopey sorority sisters in an eye-popping extravaganza of bloody mayhem! Literally, eye-popping, eye-eating, eye-stabbing... Morgan has found more ways to gouge out people's eyes than anyone ever thought possible! All the while, the onslaught of violence is set to the ironic "Dance of the Sugar Plum Fairy" as one idiot character is mercilessly killed after another. Robert Mann's infuriated performance as Billy earns some great laughs as he sets up the character's building rage, but thankfully the mindless sorority girls are quickly dispatched. A guilty pleasure to be sure, BLACK CHRISTMAS is too much fun to be tossed away with the other garbage Slasher remakes like SORORITY ROW or APRIL FOOL'S DAY. -Carl Manes I Like Horror Movies

In 1972, the Department of Defense launches Apollo 18 on a secret mission to the moon. Objective: Unknown. Its crew would never return. Nearly 30 years later, their footage has been found. If you aren't already a fan of the "found-footage" genre, APOLLO 18 is unlikely to change that fact, but for anyone who enjoys watching in horror through the shaky first-person perspective of the camera will find this to be another fresh new take on the format. Director Gonzalo López-Gallego has taken great care in making every scene feel authentic by properly aging the footage and dressing down the technology to fit the early 1970's. The cramped space station and craterous moon setting add the the believability, and allow for a suspension of disbelief as we travel alongside the cosmonauts in zero-gravity. While this particular style does lend credibility to the plot, it is also cause for a lot of expected slow-downs in the pace, with the action being spread thin throughout the entire run-time. Fear and paranoia do set in much like in THE THING once the men discover that there is life on other worlds. An interesting use of the format to be sure, APOLLO 18 nevertheless reaches the limit of its own high concept quickly as the audience eagerly awaits any signs of life from the film. -Carl Manes I Like Horror Movies

Michael Dougherty makes an incredible directorial debut with TRICK 'R TREAT, a stylish and mean-spirited Halloween anthology that is sure to become a yearly tradition for Horror fans! It is a dark Halloween Night, and the streets are alive with ghouls and ghosts! The school's principal teaches his kids the real meaning of Halloween, and why it is always important to check your candy... A beautiful young co-ed sets off to find a date for her sorority party, but both of them are in for a terrible surprise... Four kids decide to play a mean trick on one of the neighbors at a haunted rock quarry, but the ghosts that reside there don't find it to be very funny... A crotchety old man is the one who gets tricked when he decides not to offer treats to the wrong child... Dougherty doesn't just use the holiday as a cheap backdrop, but immerses the film in the modern traditions and ancient pagan lore that define it. TRICK 'R TREAT is one of the most beautifully shot Horror films to come out of the past decade, illuminating the screen with rich Autumn hues in deep oranges, reds, blues, and browns that bring out the spirit of the holiday. Creeping mists, candlelight, and creaking floorboards drip with spooky atmosphere, and create a world where vengeful spirits surely exist. Dougherty cleverly intertwines each of the sordid tales into his own twisted timeline which comes together perfectly in the end! Look for Dylan Baker, Anna Paquin, and Brian Cox in just a few of the devious roles. -Carl Manes I Like Horror Movies

A weekend escape turns deadly for a group of college students when they encounter a group of man-eating sharks in the waters surrounding their remote island getaway! Make no mistake about it, the PG-13 rating for SHARK NIGHT clearly designates both the intended audience and the level of intelligence behind the script. Every attempt to make this movie "hip" for the younger generations instead comes off as being trite and cliche, and every move the characters make is utterly predictable... That is, up until the ridiculous final act. Technology has apparently devolved once again, considering that the computerized sharks in SHARK NIGHT look worse than those created 13 years ago in DEEP BLUE SEA. It is also sad to think that a film like this could ever have made it in to theaters, when the quality of the overall production falls behind many of the awful made-for-TV movies that drown the SyFy channel yearly. At least with the 2010 PIRANHA remake, Alexandre Aja knew enough to play up the high camp in the picture, and delivered an abusive amount of gore. There is no fun to be had anywhere in SHARK NIGHT, and it is nearly bloodless. Do not waste your time on this pathetic film. -Carl Manes I Like Horror Movies

It would take a man like Tim Burton to grossly misconceive an over-budgeted remake like PLANET OF THE APES. This special effects spectacle looks great on screen, but lacks the character and intelligence of the original. As a result, APES was a commercial success, but a critical failure. Astronaut Leo Davidson is thrust through time to find himself trapped on a world ruled by apes. After a planned escape, Davidson becomes the unexpected hero in a human revolt against the apes! The only real hero in PLANET OF THE APES is seven-time Oscar winner Rick Baker for his phenomenal make-up designs, which bring the apes to life in a wide array of different shapes and sizes. The apes simply look incredible, but unfortunately, the appliances hinder the performances of the actors, and often cause them to stumble through their lines. This is not the case for Helena Bonham Carter, who prefers to whisper incoherently, or Tim Roth, who just spits his vile contempt for humanity like venom. Where screenwriter William Broyles Jr. makes his biggest mistake is in allowing all humans to have the capacity of speech, which completely destroys the impact of Davidson's arrival on the planet. There can be no questioning of ape ethics or breakdown in ape philosophy if the lead character is no different than the humans that already exist on the planet. Coupled with Mark Wahlberg's stagnant performance, PLANET OF THE APES misses the point entirely. What is left is an entertaining but empty space epic that will be long forgotten in the years to come. -Carl Manes I Like Horror Movies

Prepare yourself for a magical journey in SPIRITED AWAY, the acclaimed Japanese animation by renown director Hayao Miyazaki. Chihiro finds herself lost in the spirit world after her parents are transformed into pigs by a malevolent witch, and she must gather her strength and courage if she hopes to save them! SPIRITED AWAY transports us to a fantasy world that is filled with strange and magnificent creatures who are brought to life through Miyazaki's captivating animated style. Chihiro's journey is a timeless story of self-discovery and the coming of age, where a young girl first discovers love and compassion by acting outside herself. Miyazaki uses traditional storytelling techniques to paint a unique new fairy tale that children of all ages can relate to, while keeping with its Japanese origins. The sometimes horrifying creatures that Chihiro encounters each represent a stage of childhood that she must overcome, and bring with them valuable lessons that she will use in her budding adolescence. SPIRITED AWAY provides childlike wonder for kids and adults alike, and is a masterpiece of modern animation. -Carl Manes I Like Horror Movies

Martha is picked up at the bus stop scared, confused, and alone. As she attempts to settle in to a normal life with her sister, she is haunted by horrible images from the past, where she had become part of a hippie commune led by the persuasive and charismatic Patrick. Martha's nightmares, fear, and paranoia continue to build until she is unable to separate her dreams from reality. First-time director Sean Durkin has struck immediate success with MARTHA MARCY MAY MARLENE, the award-winning cult drama from 2011. Durkin delicately interlaces the past and the present as he retells Martha's chilling experiences using an organic story structure. It is terrifying to think just how easily an impressionable mind could be manipulated and controlled in such a way, but Durkin takes all of the right steps in disarming the audience in the same way that Patrick has disarmed his followers, perfectly illustrating the power of coercion and the psychological lures that draw people in to such a group. Elizabeth Olsen is phenomenal as Martha, and commits herself mind, body, and soul. There are moments where Martha makes contact with the viewer and causes them to turn away in shame for intruding into her thoughts and emotions. John Hawkes is deadly as Patrick, coming on with a subtle charm that effectively seduces the other characters under his spell before corrupting their minds. MARTHA MARCY MAY MARLENE will not be easily forgotten, and is a top-contender for Best in 2011. -Carl Manes I Like Horror Movies

In an ever-vigilante attempt to stay socially-relevant, George Romero creates a class struggle between the rich and the poor which is also personified in the battle between the living and the dead in LAND OF THE DEAD. Both human and zombie are only looking for the basic rights to life, liberty, and the pursuit of happiness, which have been stripped away from them by a tyrannical overlord that has seized control from his ivory tower, Fiddler's Green (perhaps in reference to SOYLENT GREEN, which seems to have heavily influenced the plot). Romero makes many poor decisions in LAND OF THE DEAD that fans are sure to disagree with, the first being the further humanization of the zombies. We saw in DAY OF THE DEAD that Romero's zombies had regained their basic motor skills. Here, they begin communicating, using tools, and strategizing, which is a huge stretch for creatures that are supposedly "dead,' and very difficult for audience members to accept. What is worse, Romero, whose films served as the pinnacle of special effects makeup throughout the 70's and 80's, has begun the downward slide into computerized imagery, particularly for the gore sequences. While it is less apparent in LAND OF THE DEAD, his subsequent films would be ruled by these cost-saving (but visually abhorrent) techniques. Only the practical makeup effects handled brilliantly by Greg Nicotero and Howard Berger call back to the greatness of the past three films. LAND OF THE DEAD presents us with no compelling characters to carry the story, just a group of mismatched rogues for whom we care nothing. The closest that we have to a hero is Simon Baker playing Riley Denbo, but all of his whining and sniveling gets him nowhere. Instead, it seems that we are meant to align ourselves with the zombies, who are the only characters that are portrayed in a sympathetic light, but this group only serves to annoy as well. The lead zombie, aptly named "Big Daddy," looks and acts nothing like the zombies we have come to expect in a Horror film, and even without the benefit of conditioning (as with Bub in DAY), he has rebuilt his intellect to near-human levels. This breaks continuity within the series, and would have worked better if overwhelming hordes of mindless zombies were left to overthrow Fiddler's Green. There seems to be an utter loss of direction in LAND OF THE DEAD that severely detracts from the film. The dead are left forgotten in the background as the living front their feeble uprising. Romero injects enough of his trademarked social commentary to credit the script with some intelligence, though LAND OF THE DEAD falls far behind NIGHT, DAWN, and DAY. -Carl Manes I Like Horror Movies

If George Romero had made this three or four years sooner, it may have still been relevant, but DIARY OF THE DEAD comes in way too late in the long line of "found footage" films that became popular in the 2000's. DIARY follows a group of college students as they document their first-hand account of the zombie apocalypse using a hand-held video camera. Unfortunately, Romero gets the format entirely wrong in every conceivable way. Instead of producing an ultra-realistic nightmare as we had seen in [REC] from the same year, he gives us a poorly-staged and utterly contrived zombie bore lead by unbelievable characters and lackluster special effects. In the first of many offenses, Romero allows his characters to edit their footage, which entails adding slow-motion effects, scene transitions, and even narration. The editor has even chosen to emphasize the scares using blaring sound effects! Romero's characters are given painfully unnatural dialog, which makes them come off as being bad actors rather than genuine people. The zombies are killed in a variety of glamorized ways that simply would not happen in a real-world survivor setting. Worst of all, the cartoon gore is comprised almost entirely by computerized effects! How does this, in any way, reflect reality? Why choose this format only to then go back and fictionalize the events? The only answer seems to lie in the editor's commentary, itself. Debra repeatedly stresses how it was impossible to discern fact from fiction with 400,000 spins on the truth available for download online. Perhaps this, too, is some elaborate prank being played by the filmmakers, calling back to the Wellesian War of the Worlds radio drama that Romero references as well? Even in that remote possibility, DIARY OF THE DEAD never displays enough intelligence to credit it as being a satire. DIARY OF THE DEAD shows an extreme disconnect between concept and execution. Romero may have entered this project with good intentions, but the result is truly horrifying. -Carl Manes I Like Horror Movies

A band of rogue militants that are attempting to escape a world overrun by the undead find themselves caught in the middle of a feud between two families when they land on a remote island in the latest entry of George Romero's epic zombie series. Here, Romero quarrels with the idea of whether or not the living dead can be domesticated and eventually cured, or whether they must be eradicated to avoid any future outbreaks. This debate fuels the ongoing struggle between the O'Flynns and the Muldoons, a battle which takes center stage over any of the zombie mayhem in the film. While it cannot be argued that Romero has not attempted any new and interesting ideas in LAND, DIARY, and now SURVIVAL, the execution of each of the films always falls short. The sixth installment never manages to generate any forward momentum, and the social commentary that is worked in to the plot is never fully developed or used to effectively impact the viewer. To put it bluntly, the film is completely uninteresting. There is no one left for the audience to relate to or sympathize with between the thieving soldiers and the two warring families. The man once known for discovering Horror's greatest make-up artist has settled for cheaply-made computerized effects once again, effects which are entirely unconvincing and immediately take the viewer out of the action. Still, what the gore lacks in quality, it makes up for in quantity, with numerous attack sequences filled with head explosions and multiple maulings by the rampaging ghouls. As hard as Romero fans may try to dispute it, SURVIVAL OF THE DEAD continues the downward trend of declining interest and bland filmmaking that has plagued the director's most recent efforts. -Carl Manes I Like Horror Movies

Two simpleminded hillbillies head for the mountains to fix up their new vacation home, a dilapidated cabin, when they fall under attack by a group of college kids that have mistaken them for psychotic serial killers! Move over, Jason, Horror has a new mascot... Two actually, in TUCKER AND DALE VS. EVIL! Eli Craig's brilliant satire of the Slasher genre has all of the same sharply-written humor as SCREAM minus the pretentious overtures, turning Horror on its head by playing off of every major movie trope with hilarious results. Simple misunderstandings give off sinister appearances, as the college kids confuse Tucker and Dale's good-natured acts as attempts to kill them! When one of the girls slips on a rock, Dale heroically saves her from the lake, but the teens only see an unconscious body being dragged from the water! As they attempt to rescue her, Tucker accidentally saws into a beehive, and comes charging into the woods with a chainsaw, causing one of the kids to impale himself on a tree branch! Bits like this only cover half of the humor, because the real smarts come out in Craig's witty dialog. Tyler Labine and Alan Tudyk downplay their roles for maximum effect, providing plenty of laughs and keen comedic timing along the way. TUCKER AND DALE VS. EVIL is bloody good fun from start to finish, earning its place right beside other modern revisionist classics like BEHIND THE MASK: THE RISE OF LESLIE VERNON and LONG PIGS! -Carl Manes I Like Horror Movies

"And now for something completely different!" RUBBER follows Robert the tire as he takes off on a deadly rampage through the desert, crushing everything in his path and using his powers of pyrokinesis to destroy anything he cannot kill through conventional means. Meanwhile, a group of spectators watch from afar, occasionally commenting on the carnage. The point? To have no point. To be completely without reason. And RUBBER proves its point very well. In fact, it may even be the most pointless film ever made! The silly premise is much better suited for the short film format, where its punch line would go off without a hitch instead of dragging it on to feature length. It provides only momentary satisfaction when Robert inquisitively inspects his surroundings and blows the heads off of innocent desert creatures in a fit of gory rage. Quentin Dupieux opens the film with a pretentious monologue about the pointlessness of cinema that immediately establishes his sense of self-importance. In other words, he is telling the audience they are not intelligent enough to understand that this is satire, so he spells it out for them. That does not make RUBBER any less clever or entertaining in small doses, however. RUBBER is unique enough in concept to warrant a view.

The group from "Grave Encounters" sets off to shoot the sixth episode of their ghost hunting reality show in the Collingwood Psychiatric Hospital, never expecting to run into the real spirits that haunt the abandoned asylum! GRAVE ENCOUNTERS playfully pokes fun at two recent trends in Horror, both the "found footage" films from the big screen and the endless number of paranormal investigations now showing on TV. Specifically targeting the unintentional humor and camp of Travel Channel's "Ghost Adventures," The Vicious Brothers play up the over-the-top nature of the show's hosts and the sensationalism of their so-called "evidence." These gimmicks pay off in the first third, where the stupid actions taken by the idiotic characters actually serve to disarm the viewer against the initial scares. Trouble comes later, when the subtleties of moving objects and slamming doors give way to a ridiculous special effects show. What little amount of believability the film had achieved up until this point is thrown out the window. GRAVE ENCOUNTERS still makes for some goofy fun as we sit and wait for the next unexpected scare to jump out at us from the darkened hallways.

THE NEVERENDING STORY is a feat in fantasy filmmaking, truly one of the most incredible fantasy adventures ever made. The imaginative character designs and enchanting environments bring the world of Fantasia to life in amazing detail. Director Wolfgang Petersen employs an astonishing array of special effects, from life-like puppets to matte paintings and miniatures that meld together to give the film an epic look unlike any other. Although it is based in childhood fantasy, the film touches on many darker tones and twisted villains that, along with its haunting score, often make for a frightening viewing experience for younger audiences. A series of meaningful and memorable characters are introduced to fight the forces of darkness, characters who personify the values of courage (found in the brave warrior Atreyu), wisdom (shown by the ancient one, Morla), and valor (as seen in the self-sacrifice made by The Rockbiter and others). In the face of such heroism, the corruptive creature that is attempting to destroy this whimsical world fares no chance. On top of the High Fantasy elements the film possesses, it also delivers a powerful message against the death of imagination at the hands of apathetic parents and their disenchanted children. By frequently breaking the fourth wall, THE NEVERENDING STORY engages young Bastian as well as the viewing audience to enter the world of Fantasia and participate in the events as they unfold on screen right beside Atreyu and his companions, thereby saving all who live within this realm. THE NEVERENDING STORY holds a special place beside other timeless classics like THE WIZARD OF OZ, THE DARK CRYSTAL, and LABYRINTH.

Newlyweds Tim and Molly move in to Molly's childhood home after the death of her parents, but the demons from the past return to haunt her as she spirals back in to drugs and paranoia. LOVELY MOLLY is an exercise in claustrophobic tension and psychological terror from THE BLAIR WITCH PROJECT director Eduardo Sánchez. Like Lars von Trier's ANTICHRIST, LOVELY MOLLY is deeply embedded with occult symbolism and paranoid delusion as Sánchez draws a dizzying veil of madness around his characters. The lines of reality are often blurred and left open to interpretation throughout the film as a result, which can sometimes have a disorienting effect on the viewer. On top of its suffocating mood, LOVELY MOLLY succeeds in creating a number of subtle scares through its spine-tingling sound design, putting the audience on edge without saturating the screen in blood or gore. Gretchen Lodge is as much an asset as she is a liability as Molly. At times, her blatant overacting destroys the illusion, but for every misstep, she counters with an equally-haunting moment of dread. If one thing can be said for certain, however, it is that Lodge has fully committed herself to this role, and she truly believes in the character she is portraying on screen. Atmosphere wins out above all else in this chilling little mood piece.

Just when you thought it was safe to go back in the water park... The piranhas are back in another outrageous outing with even more blood and boobs than ever before! Those pesky pre-historic piranhas have found their way into a new lake, but unfortunately for the locals, the lake also serves as the source for the the new Big Wet water park! If you thought PIRANHA 3D was in poor taste, you ain't seen nuthin' yet! The creative team behind the cult-classic FEAST takes over in this direct-to-video sequel, and they have really nailed it this time. PIRANHA 3DD shoots way over the top with its crude humor and exploitative fun, throwing political-correctness to the wind along with plenty of limbs and bikini tops. Don't let the 'R' rating fool you... This film has more gratuitous nudity and violence than any Uncut DVD on the market. All contextualized, of course. Where PIRANHA 3D never struck an even balance between the humor and horror, director John Gulager and writers Patrick Melton and Marcus Dunstan keep the pace moving a mile a minute as they shock, entertain, and completely disgust along the way. If that weren't enough, PIRANHA 3DD unleashes the one-and-only David Hasselhoff in a brilliant self-parody for the final act. Any fans who may have been disappointed with the last PIRANHA can get ready for a stupid good time with PIRANHA 3DD!

Over the past decade, children have been disappearing in the downtrodden town of Cold Rock, but now, one mother is fighting back when her son becomes the next victim of the Tall Man. Pascal Laugier, writer and director of the controversial shocker MARTYRS, returns with THE TALL MAN, a suspense thriller that marks a dramatic shift in style and tone from the director's previous film. THE TALL MAN echoes the writings of Stephen King in many ways, but mainly in its small town setting, the monster of legend that plagues the town, and in the narration that is provided by one of the town's young children. Jessica Biel stars as Julia Denning, a nurse whose selfless attempts cannot save the dying community from itself. Biel's performance carries the film, but despite her best efforts, her character simply isn't compelling enough to garner our sympathy or support. While the final reveal may seem like a cheat to the many viewers who set their sights on the supernatural, Laugier still surprises with an altruistic message of hope that few could have anticipated. THE TALL MAN will hold a certain appeal with fans of both Stephen King and M. Night Shyamalan.

Annie lands on Kyle's front porch deep within the woods after being chased by two murderous cops, but as each of their stories begin to change, it will be left up to Kyle to determine the real victim... Genre favorite Michael Biehn stars as our crowbar-wielding hero in THE VICTIM, his second outing as both writer and director. Unfortunately, the audience is the one true victim in all of this. THE VICTIM is a mess from the very beginning. The poorly scripted characters and dialog are far from believable, faults that become that much more apparent throughout the grossly overacted performances. When the awkward sex scenes and confusing flashbacks are also taken in to account, it becomes increasingly difficult to remain involved in the plot. The end credits only seem to confirm the cast and crew's half-serious tone, but this isn't clear at any other point in the film. While Biehn and Blanc show a definite appreciation for the genre, this creative team will require much more outside experience to shore up many of the flaws in production.

In this dark re-telling of the classic fairy tale, Snow White escapes the grasps of the evil Queen Ravenna after her father's kingdom is thwarted, and it will be up to the young Princess who is pure of heart to amass the forces of good against her wicked stepmother. Or so it would seem... It is difficult to tell exactly what is going on throughout the threadbare plot in SNOW WHITE AND THE HUNTSMAN. Sure, it looks pretty, but the big-budget special effects cannot hide the fact that SNOW WHITE makes very few attempts at telling a compelling story. Kristen Stewart stars as our slack-jawed and angst-ridden heroine (if you can call her that). Snow White spends the majority of the film fleeing through the woods with the aid of The Hunstman (Chris Hemsworth), before suddenly and confusingly becoming the leader of a major rebellion against The Queen. The term 'contrived' receives a whole new meaning in the film's brisk 2-hour run time. Charlize Theron is given a few moments to shine as Ravenna, but if any praise is due at all, it must be given to the set designers, who have brilliantly dressed everything from the brooding castles to the enchanted forests. SNOW WHITE AND THE HUNTSMAN provides enough eye-candy to 'wow' most fantasy fans, but THE LORD OF THE RINGS this is not.

A simple cross-country trip turns into a fierce battle for survival when a group of desert vampires set their sights and Sean and his new traveling companion in THE FORSAKEN. THE FORSAKEN borrows generously from films like NEAR DARK and John Carpenter's VAMPIRES, only to come off feeling unoriginal and uninspired. We spend the majority of our time with our hero Sean (Kerr Smith), who spends the entire time worrying about his car and making it to his sister's wedding despite the unholy terrors that are unfolding around him. Johnathon Schaech serves as a decent villain, but his vampire cohorts range from being minor annoyances to complete distractions. Phina Oruche's ungodly performance, in particular, detracts from everything else that is occurring on screen. The action and horror are both bland and predictable, and although the plot introduces some interesting new ideas to the vampire mythos, it frequently contradicts itself. If we are to believe that vampirism is a virus, why would killing the head vampire cure anyone that has been bitten? Overall, THE FORSAKEN is familiar and bloody enough to earn a passing grade for vampire fans.

"You know the part in scary movies when somebody does something really stupid, and everybody hates them for it? This is it." Trish and Darry are stalked by a terrifying man-eating creature while on their way home for spring break in 2001's JEEPERS CREEPERS! Victor Salva directs from his own original screenplay, which is lazy, messy, and misguided from the very start. JEEPERS CREEPERS opens as a suspenseful thriller, before revealing that the killer creature is actually rooted in the supernatural. Whenever the action lulls or our interest in the characters begins to fade, Salva throws in some desperate new gimmick to try and gain back his lost momentum without ever actually attempting to improve upon the story itself. The creature goes from being an axe-wielding maniac to being a cannibalistic ghoul to then tranforming into a cannibalistic ghoul with wings and mandibles which serve no other purpose than to show off the flashy special effects. At one point, Salva writes himself into a corner when attempting to explain the creature's origin or why it only eats certain people and parts of the body, and hence "Jezelle the Psychic" is born out of convenience and necessity. If we are to believe that the creature can only replenish its limbs and vital organs by eating the flesh of its victims, just how is it supposed to grow back those wings, anyway? As annoying as they often can be, Justin Long and Gina Phillips are goofy enough to keep us entertained as the unfortunate brother and sister team, while Jonathan Breck adds a frightening new villain to the modern Slasher genre.

The devil has returned to Earth to claim his bride and bring about the end of the world, and only one man has the power to stop him in END OF DAYS! END OF DAYS feels like a dumbed down version of ROSEMARY'S BABY or THE OMEN, an opportunistic attempt to cash-in on the turn of the century paranoia that tries to mask its failing script behind big names and explosive special effects. Arnold Schwarzenegger plays a parody of his former self, having been given more of the worst one-liners of his entire career as he makes a fool of himself on-screen. It is ever-apparent that he is reading the role off of the page, making it impossible for the audience to invest in his character. Gabriel Byrne, on the other hand, gives an entertaining performance as the devil. He is cunning and manipulative, but playful at the same time, recalling Robert de Niro in ANGEL HEART. It is worth watching for his part, alone. Peter Hyams' over-budgeted action sequences turn what probably should have been an atmospheric thriller into a flashy light show with no character or mood to show for it. If anything, the title most accurately describes the shape of Arnold's career as we entered the 21st century.

The aliens are upon us, and they do not come in peace! After a fleet of warships are spotted on their approach to Earth, the world leaders prepare to welcome the intergalactic invaders from Mars, but are instead vaporized by their laser death rays! Who will save us when MARS ATTACKS? Tim Burton's irreverent black comedy combines the high camp of a Roger Corman production with Sam Raimi's particular brand of "splatstick" humor for an end result that is nothing short of hilarious! MARS ATTACKS features an all-star lineup that includes Glenn Close, Pierce Brosnan, Annette Benning, Michael J. Fox, and many, many more playing ridiculous caricatures of our social and political figureheads. Academy Award winners Jack Nicholson and Rod Steiger stand out in particular as the two opposing heads of government. Nicholson plays the politically-correct President of the United States who overlooks the aliens' initial attacks as being a "cultural misunderstanding," while Steiger gives us a taste of DR. STRANGELOVE as General Decker, whose hand is always on the button as he anxiously awaits the authorization to deploy his nuclear deterrents.

The Creeper is back, and this time he is after a busload of high school students on their way home from the big game! Can the teens outlast the night and force The Creeper back into a forced hibernation? Unfortunately for us, they can, but not before he tears through more than half of their whiny, over-privileged, and utterly annoying friends on the road to nowhere. The main thing this sequel has going for it is the return of Jonathan Breck as the monstrous man-eating Creeper, who adds even more personality and dark comedy to his villainous role. Like in the original, JEEPERS CREEPERS 2 offers a few stylish moments and jolting shocks, but it is riddled with all of the same errors in logic and storytelling as before. Once again, Victor Salva relies on another psychic character to lend some clue as to what is going on, especially to anyone who had missed the first film. At the very least, The Creeper puts an end to the teens' incessant yammering in a number of brutal and bloody ways when he's not ingesting their organs to replace his own.

Filipino director Yam Laranas mixes atmospheric terror with outright shocks in his latest feature, THE ROAD. An unsolved missing persons case is re-opened when three teens disappear off of the same fateful road twelve years later. What the police will discover is more horrifying than anyone could have imagined, with a string of deaths spanning over two decades! Once Laranas has established his dark, oppressive mood, he never lets up, and follows through with a steady stream of haunting images that will chill you to the bone. The story unfolds in three seemingly unrelated stories, which have been carefully tied together in the end to reveal the sinister secret behind each of the mysterious deaths. Laranas takes a timely approach in introducing each new set of characters, allowing his talented cast to bond with the audience before they meet their inevitable demise. The end result is a well-told ghost story that easily stacks up against its Japanese equivalents JU-ON and RINGU in the terror department.

The Baltimore police must enlist the help of Edgar Allan Poe when a deranged madman begins staging a series of gruesome murders around the writer's most famous works in THE RAVEN! John Cusack stars as the ill-fated author, although he often lacks the strength and conviction to carry the film. This rendition of Poe seems less tortured and more focused on melodramatics and snappy retorts, though none will accuse the film of attempting to be an accurate portrayal of the man, himself. James McTeigue paints a stylish thriller that resembles the likes of FROM HELL or SLEEPY HOLLOW in its dark Gothic allure. Poe aficionados will appreciate the delicate interlacing of clues that tie several of the author's most famed stories together while piecing together the killer's grand scheme. Where THE RAVEN mainly falters is in creating any real suspense to lock us in our seats as the murders unfold. As Hollywood thrillers go, however, the somber mood and ever-widening mystery will be enough to win over most mainstream audiences.

Tom's life begins to spiral out of control when his buddy Dan brings home a suspicious snuff tape that he found online. Will the two be able to break away from their sick obsessions before they are tempted to turn a dark fantasy into reality? So begins GUT, a tightly-drawn psychological thriller that overcomes its minuscule budget with an intriguing pair of characters and constant feelings of dread and paranoia. Director Elias takes his time in introducing Tom and Dan in order to build upon their friendship in a real-world setting. Only then does he begin chip away at their masks of sanity, slowly revealing their twisted desires and inability to relate with those around them. While the snuff film becomes the point of their fixation, the universal themes of obsession and moral corruption could easily be interchanged for any other vices without losing their impact. The shockingly realistic special effects only add an intensified element of horror on top of the growing terror and suspense. Jason Vail and Nicholas Wilder competently carry out their leading roles, which account for much of the film's success. Chad Bernhard's depressing score also works to darken the mood throughout. GUT is a cut above the rest on the Independent film scene.

A band of renegade scientists are joined by members of the Weyland Corporation to explore an uncharted planet that may hold the key to our creation, but the biological remains left behind by the world's previous inhabitants will pose a deadly threat that may instead mark the end of existence! Ridley Scott returns to the Science Fiction genre in a major way with PROMETHEUS, a spiritual prequel to the 1979 classic ALIEN. PROMETHEUS falls very closely in line with the look, feel, and overall mood of the original ALIEN, following a similar structure that includes many familiar characters and settings. Where the two diverge is in their actual storytelling techniques. ALIEN tells a simple yet effective story that comes to a conclusive end after the rising tension found in the first and second acts. The unavoidable plot holes that frequent PROMETHEUS raise more questions than answers every step along the way, leaving the audience to question the writers intentions more so than the grandiose theological discussions that are being proposed. If one thing is for certain, however, it is that Ridley Scott has lost none of his command over this visual medium, creating a mind-blowing display of visual effects that take us well into the next century and beyond the farthest reaches of space. With the suspension of disbelief held high, PROMETHEUS can surely be enjoyed as an epic space adventure in search of far greater meaning amongst the stars.

Paleontologist Kate Lloyd is asked to join a Norwegian expedition in the Antarctic after they uncover an ancient alien spacecraft deep beneath the ice, but when one of the shape-shifting creatures awakens from its icy tomb, she will be forced to determine friend from foe in a battle for survival atop the frozen continent. The 2011 prequel to John Carpenter's classic Science Fiction film THE THING is surprisingly well-made, and serves as a valid companion piece to the original film by filling in the events that preceded it. Matthijs van Heijningen Jr. and his team of set designers have taken great care in recreating the Norwegian base camp and following the frightful events just as they had been described in the previous film. The one major disadvantage that anyone would come to expect falls in the special effects department. Rob Bottin's ground-breaking make-up designs have terrified audiences since 1982, but the computerized monstrosities found here lose much of their effect despite their nasty appearances. Although THE THING presents several new twists on the plot points from before, the plagiarized ideas border quite closely to making this a direct remake. Mary Elizabeth Winstead and her supporting cast do maintain the proper amount of fear and paranoia to make this a successful sequel/prequel/remake, whatever it may be.

Sarah attempts to elude her would-be assailants after being trapped in her parents' remote lake house in the edge-of-your-seat thriller SILENT HOUSE. Chris Kentis and Laura Lau of OPEN WATER fame stage the action in real time, using clever editing techniques to disguise their cuts while creating the illusion that the entire film has been performed in a single shot. Kentis and Lau experiment with as many different angles and framing methods as they can realistically achieve given these stylistic constraints, and although this frequently removes the viewer from the false sense of reality, any film maker can appreciate the effort and creativity that is being employed on screen. What this hand-held technique does provide is a level of uncomfortability and voyeuristic intrusion in to the events, forcing the audience inside the room as we creep down the dark and dangerous hallways right alongside Sarah. Elizabeth Olson gives another excellent performance as Sarah, whose sheer terror and vulnerability rattle us to the bone. SILENT HOUSE comes out a big winner in the scare department while greatly impressing with its unique approach to film making.

Move over Batman... There is a new super hero in town, and he is ready to bash his way through the skulls of injustice with his pipe wrench of truth! James Gunn returns with another explosive cult-comedy starring Rainn Wilson as The Crimson Bolt, a self-made super hero that takes up crime-fighting after a seedy drug dealer makes off with his wife. Together with the help of his trusty side-kick, Boltie, they will squash evil in all of its many forms! In a James Gunn film, that includes beating people senseless over minor indiscretions like butting in line and keying cars, naturally. Gunn pulls no punches when it comes to crass, irreverent humor and exploitative violence, taking each to their veritable extremes while hiding behind the guise of a super hero film. Dig deep enough, and there are many powerful themes at work that speak directly towards the concept of the vigilante super hero and the essence of right and wrong. Rainn Wilson embodies the role of our deranged hero perfectly, providing an equal balance of sad ineptitude with never-ending hope and courage. Ellen Page's foul-mouthed Boltie adds an entertaining mix as well, when she is not taking the role too far over the top. As a wry wink to the super hero genre, SUPER cannot be beat!

The accursed Ghost Rider is hired by a secret sect of religious monks in the hopes of rescuing a young boy from the devil's grasp in exchange for his soul, a battle that will rage across Eastern Europe as The Rider takes on the forces of Hell atop his fiery motorcycle! CRANK directors Mark Neveldine and Brian Taylorn attempt to inject the same high-energy aesthetic in to the GHOST RIDER reboot, with disastrous results. SPIRIT OF VENGEANCE comes off looking like an unscripted mess, almost as if it were shot as an amateur music video for some no-name rock group. Nicolas Cage is as awful as ever. Why even bother rebooting the series only to bring back the single worst element from the original film? SPIRIT OF VENGEANCE takes a darker approach to the material that falls more closely in line with the comics, sacrificing the kid-friendly attitude from before in lieu of the increased action and horror. Ghost Rider has received a major overhaul as well, his charred skull and blistering costume being the only welcomed changes to the character. When standing before his enemies or blazing down the highway on his hellish motorcycle, he is an awesome sight to see. The remaining effects are uneven at best, and take a dive during the ugly transformation sequences. With a pointless excuse for a plot is hard to ignore, GHOST RIDER: SPIRIT OF VENGEANCE offers little more than the occasional eye-candy.