Finding a special someone can be extremely difficult and falling in love is even harder. There are times when, searching for a soulmate, is a futile exercise and the end result is spending most of your time alone. When your search has ended and you’ve made that idyllic interconnection, you realize that the time you were flying solo, there were others in the sky doing the exact same. You then start to believe that there is someone for somebody.
A Ghost Waits, an apparition rom-com contribution by Rebecca Films and distributed by Arrow Video, shows us that a love connection can take place anywhere, even in a haunted house.
Wrong Turn is the latest franchise to turn over a new leaf for a reboot after six increasingly bloody and lifeless sequels filled DVD shelves. Many horror fans remember the cult classic that was released in 2003 for its competent scares, the effectiveness of Stan Winston’s makeup designs, and the gleeful yells of cannibal Three-Finger who drove around with his inbred brothers in a squeaky truck. If you’d like an answer as to whether the new Wrong Turn sticks to any of this, look below. If you’re not interested in spoil-filled answers or in seeing such violent images, it’s okay to leave.
Produced in America with an eye for theatrical release in Iran, IFC Midnight’s The Night is one of the first strong horror entries of 2021. It also marks a stellar debut for Iranian-American director Kourosh Ahari. The film invokes the type of dread that resembles Kubrick’s The Shining, and not just because the film is set in a hotel. So much of The Night is steeped in well-paced psychological horror that is bone-chilling.
What would you do to bring someone back from the dead? It’s a question at the heart of many horror movies and the characters often go a step too far to accomplish this goal. With Anything for Jackson, grandparents Audrey and Henry Walsh (Sheila McCarthy and Julian Richings) go too far in the first five minutes and just dig a deeper hole as the film goes on. Their grandson is dead; the result of a terrible accident, and desperate to bring him back to life, they kidnap a pregnant woman named Shannon (Konstantina Mantelos).
“You can’t indict the cosmos,” a grave-faced cop (Ron Canada) declares about halfway through The Empty Man. No, no you really can’t. But boy, does lead character James Lasombra (James Badge Dale) put up a damn fight. The sense of hopelessness in this film is comparable to films like Aliens simply because of how relentless it is and despite a few problems, we are pulled in to a story where instead of Xenomorphs, characters face a more theological adversary and folk tale that messes with people's minds rather than their lower intestines.
Meet John (Jim Cummings). He’s an officer in a small Utah town, investigating a series of grisly murders. Oh, and he’s an alcoholic. Our first introduction to him in The Wolf of Snow Hollow is at an AA meeting, minutes after the film opens with a woman brutally murdered during a getaway with her boyfriend. John’s out to prove himself, solve the murder, and pull his life together, including his strained relationship with his daughter, Jenna (Chloe East). At the center of this werewolf movie is a family drama with a heavy dose of comedy. In turn, The Wolf of Snow Hollow is one of the most innovative and unique werewolf flicks since Ginger Snaps (2000) and one of the best horror films of the year.
From the opening act to the establishment of a cop sibling, Freaky is a spiritual cousin of Scream that delivers what it promises. A “small town” known as Blissfield has a killer problem when a sadistic jerk (Vince Vaughn) goes around killing teenagers left and right in overly brutal ways that are sure to get the bloodhounds howling. But his reign of terror takes a detour when he accidentally switches bodies with awkward blonde teen Millie (Kathryn Newton). It’s Freaky Friday with a horror skin that, while not really scary, is downright funny and a little bit touching.
Sometimes, we wish we could go back and relive a particular moment in our lives. Either because we were embarrassed or to have unseen knowledge. Antebellum did not have that kindness in mind for Veronica Henley (portrayed by Janelle Monae): a successful author forced to relive her ancestors’ struggles and hardships as a plantation slave. You know, the “normal” stuff. A name change, forgetting where you came from, and no talking. This twisted Thriller hits you with scary, harsh realities that address current societal issues.
Many tales of possession, transformation, and replication of the human form have graced the screen for decades. Prime examples of this would be William Friedkin’s The Exorcist, John Carpenter’s The Thing, and the classic Invasion of the Body Snatchers helmed by Don Siegel in 1958, Philip Kaufman in 1978, and Abel Ferrara in 1993. These films, despite their differences, have one thing in common, the desecration of one’s own identity at the expense of the fragile flesh that is the human body.
Since the beginning of the recent pandemic, we have seen a surge in food deliveries and takeout orders. Stressed out and hungry, more people are turning to takeout and delivery rather than face the prospect of cooking yet another meal. If you’re one of the many people that has found themselves ordering takeout or delivery a little too much lately, perhaps one of these scenes will scare you back into the kitchen.