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.
A delightful piece of fan faction that packs some extra surprises; you can tell Martin enjoyed every second of writing.
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.
A superb package teeming with extras; a fitting tribute to a film that fully justifies its reputation as a cult classic.
Visually, there are some good moments, but it's a hotchpotch of story-telling technique, none of which stick.
Zombie fans will enjoy the numerous genre references, but many will see the same old tired and perfunctory plot devices.
Exploitative, splatter-comedy fun that is hugely entertaining and self-knowingly plays to its strengths effectively.
The foreboding set piece complements the horrific story wonderfully, while Charles Laughton is genuinely sinister.
Quite possibly one of the most lacklustre attempts at a zombie film ever made, Osombie is simply excruciating.
At first glance Dark Shadows is fun, but there is simply little story to be had, with a script that relies on just the one joke.
An unusually restrained Vincent Cassel is a pleasure, but it's a drawn-out story that runs out of steam before a rushed conclusion.
Enough strands are left to ponder to deem writers Bruce Wood and Scott Poiley as worthy of keeping an eye on.
Deeply irritating; places far too much focus on stunted, badly-acted banter that is difficult to understand at points.
A perfect introduction to the genre, accessible enough to reel folk in. The rest of us will go giddy counting the references.
A painfully average film, its classic horror status somewhat baffling. Purchase to complete your Stephen King collection.
D. Kerry Prior's limited experience mostly lies in SFX, but you wouldn't know it from what is perfect comedy timing.
Its own bizarre entity; a curious commentary on the protagonist’s descent into madness as he combats love, loss and zombies.
A non-linear approach wears thin, initial intrigue giving way to frustration as the story continually dances away with the cuts.
There is probably a good film hidden somewhere in here, but the entire experience feels like a waste of time.
John Cusack as Edgar Allan Poe is immensely watchable, but the story is downgraded to a bog-standard thriller.
Effectively creates tension to complement an overall creepiness, to deliver a climax that keeps the viewer in the dark.
Under the impressive visuals and solid cast there are genuine flaws, and it allows itself to surrender to cliché too easily.
A superbly crafted piece of dark cinema and well worth a watch. Just brace yourself for the final act; it’s a bit of a jolt.
Nucleus Films continue their mission to educate the masses on the concept of the grindhouse subgenre. Go purchase.
The central story is drowned in subplot after subplot, red herrings running amok to the point of frustration.
Laurence R. Harvey turns in an excellent performance, but there is no escaping the knowledge of a rapidly hashed idea.
A truly effective film that will stay with you long after the credits roll; to have achieved this in a debut is quite remarkable.
This 40th anniversary edition, hosting a plethora of extras, is surely one of the year's most essential releases.
The dumbing down of the violence to tiresome torture porn, robs it of its parallel to David Sumner's psychological shift.
On the whole achieves its aim of imitating amateur home video, as director Dominic Perez steers the ship to a solid finale.
The raison d'être is ludicrous and sewn up in minutes, but the cast is very good, as is the cinematography and symbolism.
B-movie fluff at best, dull at worst, and not a patch on the films it tries to emulate. Fortunately, it doesn’t take itself too seriously.
The Rig fails to capitalise on any initial potential and becomes more tedious with every dragging minute of screen time.
Not quite as funny as you’d expect if you have seen the shorts, the film plays it straight.
Occasionally inspiring, often harrowing and depressing, the film throughout is artistic, engaging and intriguing.
An interesting statement on misogyny, albeit subtle as a sledgehammer — but then, this is from Lucky McKee and Jack Ketchum.
A required watch for fans of Frank Darabont, creator of The Walking Dead, if only to see what a difference 20 years can make.
Believes itself brutal, when in reality a small number of strong images are tied loosely together with a basic story.