A movie which feels like the filmmakers knew what they wanted to achieve, but were unsure on how to go about it.
Accepted for what it is, an enjoyable experience which admirably avoided becoming Groundhog Day in another guise.
Piecing together its story in multi-format, it's an interesting spin on found footage, but it falls victim to an over-zealous edit.
Two opportunities for interesting subplot that could alleviate the tedium of watching an unlikeable trio pant and bicker were missed.
That rarest of films, one that genuinely keeps you guessing to culminate in some palpable tension come the third act.
This new cut includes previously excised moments, while the top-drawer special features are worth the retail price alone.
Eschews many of the vampire subgenre's tropes to present something more akin to a quietly observed character study.
When the film achieves nuance it hints at its unrealised potential. Conversely, attempts at non-visual metaphor are clumsy.
Schlocky good fun, but Piranha straddles the line between dull and entertaining, twiddling its thumbs between fish attacks.
After I had viewed it as many times as I could stand, I had to put on Red Roses of Passion to restore my respect for Sarno.
A classic in its own unique way, embraced now for 30 years by those who savour off-beat films that foil expectations.
As the epitome of seventies B-movie charm, it boasts the strong elements of enjoyable kitsch that one would hope for.
Masquerades as a teen horror comedy, but the real story is the degenerative mental condition of the lead character.
Wants to be a comedic horror film with hidden depths, but the horror is scarce and the humour largely average.
Lacklustre, featuring little by way of horror or indeed comedy, relying on thinly spread visual gags over real thought.
This limited edition steelbook is a sight for sore eyes; teeming with extras, no B-movie aficionado should be without it.
As a classic tale of good versus evil, the film required a strong representative of either side, and does not disappoint.
Vincenzo Natali's debut holds a beauty in purity that matches the mathematical conundrum its characters find themselves in.
The transfer does not hold quite the same clarity as other recent restorations; an important package nonetheless.
Really, this is average TV drama fodder at best, plodding its way to a clumsily made point that makes little sense.
More concerned with style over substance; fast and fun, there is no pretence here for anything other than a bloody ride.
The puppetry is simply superb as is texture; it's excellent attention to detail from puppet-makers Mackinnon and Saunders.
An arduous affair with a cringeworthy script that provides no value for the subgenres it attempts to straddle.
Juxtaposes the supernatural with real-life threat, whilst holding a very strong point in maintenance of mystery.
There's very little to recommend this film; any comedy present is lacklustre, while the predictability is too pronounced.
A trip that was calculated carefully, the near constant use of slightly off-key circus music adding to its hypnotic quality.
The biggest mistake here is that the genetically-engineered insects of the title take a backseat. Truly dreadful.
With a hell that breaks loose quietly, The Devil's Business metes its tension effectively to insidiously creepy result.
The puppetry is impressive — the ghosts and zombies are a feast for the eyes — and the stop-motion is fluid.
A taut atmosphere is effectively created, emphasised by drip-feeding of subplot, with one particular twist genuinely surprising.
Dreadful acting and a basic, sweary script is the order of the day, with poor use of light making the film difficult to follow.
Strangely accessible for a giallo come art-house film; a pleasure from beginning to end, with lavish attention to detail.
The exorcism makes a refreshing change in not being Bible-based, but this is strictly Hollywood horror by numbers.
Naturally there is variance in quality, but overall an exhilarating experience that brings pleasure back to found footage.
A bizarrely playful addition to the [REC] series that opts for comedy over horror, despite plenty of blood on offer.
Refreshing for its solid reason for found footage, with some effective moments, but let down by uncontrolled camera.
The humour wears thin due to puerility and the editor needed reining in, but some of the comedy is surprisingly well timed.
Bordering on unbearable, The Reverend pushes the limits of patience, the script basic and the acting self-consciously bad.
A reasonably good start rapidly falls victim to a lack of direction, resulting in an incoherence that does not entertain.
Intriguing at first with some style to be had and attention to detail, but let down by a lack of direction and poor acting.
Will keep you guessing, until all possibilities for explanation are eventually tied together in an excellent balance of subplot.
It's pure pantomime and about a decade too late, but with the lights down and sound up there's fun to be had.
Despite the potentially ominous setting, this is a lethargic outing augmented by lifeless direction and a leaden script.
It's only really for specific moments that The Innkeepers very obviously feels like a horror film, yet it is effectively creepy.
The set piece needs more attention, but the attacks are done reasonably well, an instil of progressive tension reasonably effective.
Cliches abound, as does overkill, while the characters are irritating. And yet, a wound-up tension is impressed without noticing.
Has everything one could desire of a daft evening's entertainment, from sibling incest to a meeting with the Devil/God himself.
Found footage is a tricky subgenre to add an original concept to and Skew makes a good attempt. But it's not enough.
You would almost expect tongue planted firmly in cheek, yet this sagging clod of a movie takes itself quite seriously.
A stalk-and-slash film with very little stalking or slashing, little happens until the inevitably contrived conclusion.