THE WRATH (2019)
“reliance on jump scares when some of the mood setup is creepily effective was a mistake”
Read MoreGRETEL & HANSEL (2020)
“all icing, rich, decadent and lavish, but merely empty topping on a bland and un-enticing cake”
Read MoreLUZ (2019)
“evocative “retro fantastique”, but with a dour european oppression”
Read MoreBLOOD VESSEL (2020)
“vampires on a Nazi ship that must be fought off” is what was promised and is exactly what they gave you
Read MoreBIT (2020)
‘Female empowered vampires that keeps the genre fresh and femme”
Read MoreBECKY (2020)
A Joker for tween girls
Read MoreVEROTIKA (2019)
“no tongue to put in cheek because it has been cut out”
Read MoreDEEP BLUE SEA 3 (2020)
“I am saying it’s worth taking a bite out of”
Read MoreSPUTNIK (2020)
“smooth and classy seemingly decent budgeted Russian sci-fi that has a serious half of a problem”
Read MoreNEW MUTANTS (2020)
“it is not outright bad, nor the worst of the X titles”
Read MoreGET DUKED (2020)
“a comedy without the funny is a fail”
Read MoreTHE WRETCHED (2020)
“it doesn’t fly far above the witchy tree line”
Read MoreMURDER DEATH KOREATOWN (2020)
“I was ready for it to die”
Read MoreONE MUST FALL (2018)
“Supposedly a horror comedy, but it lacked being either”
Read MoreSEA FEVER (2020)
“definitely investing enough to keep you locked in for its watery entirety”
Read MoreTHE POOL (2019)
“It just becomes untenable and overwrought, almost to the point of a joke. If only it was funny...”
Read MoreTHE BEACH HOUSE (2020)
“could lead to gripping dramatic horror, but it just doesn’t have the sea legs for that swim”
Read MoreTHE OTHER LAMB (2020)
“lacks the unerring evolution that it needed to take itself from gorgeous clay to a gratifying carving”
Read MoreBLISS (2019)
“..blend into a pulsating whirlpool of pain, paint, pleasure, and panic”
Read MoreTHE AXIOM (2018)
“not finessed to creation the way the imagination might have promised”
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