One hell of a dull time, with nothing other than repetitive speculation to lull one to sleep.
Crams in every bit of exploitation style it can into the first 10 minutes alone.
Nothing but fun is to be had here, the film a catalogue of gore and nudity posing as a behind-the-scenes survey of SFX techniques.
Showcases a great deal of devil in its detail, with a tight-knit, metaphysical framework that may require multiple viewings.
The upbeat tone is maintained so thoroughly that, even when the blood rises in gouts, it doesn't dampen the lightheartedness.
Improves on the formula established by the original film; by slim-lining the segments, and by featuring fewer, the impact is undeniable.
An entertaining if not very original demonic possession slash zombie gorefest that, at the very least, showcases energy and zest.
Incredibly fun with some fantastic gore, but falls just short of its own expectations.
Compare Antisocial to projects with similar production constraints, and there is no parallel in terms of cinematic experience.
The final act crosses the line between fantastical to slightly amusing ridiculousness.
Stark, exhilarating and utterly lacking in compromise, Andrzej Zulawski's film is an emotionally brutal watch.
A smooth read, especially if you’re a well-versed Lovecraft fan. If you’re not, Culbard might be able to convince you.
In conversation with Paul Hyett on his directorial debut, The Seasoning House, and the transition from SFX to directing.
A sense of conviction and commitment to realism prevents the film from seeming an exercise in exploitation.
Flounders between drafts, as confused as its one-dimensional characters. A jarring edit does nothing to help matters.
Follows original events more closely and benefits from this with a much more coherent and progressive storyline.
A read with huge amounts of intrigue; there are enough unanswered questions to leave the reader looking forward to part two.
A hoot from beginning to end, this is sheer B-movie lunacy of remarkably bad proportions, and all the more essential for it.
Enjoyable enough, but is more fond nostalgia as opposed to a true study of the subgenre.
The real standout is "Dogfight" from Marcel Sarmiento, an unsettling piece that lingers longer than any other story here.
Overall, what the film does, which is torture porn, it does well. But Evil Dead does not do The Evil Dead well.
The extras on offer here earn this release its entitlement to the term 'special edition', where so many others fail.
Thoroughly unlikeable characters played by terrible actors spout unnecessary predictive dialogue in lieu of characterisation.
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.
We speak with Hammer historian Marcus Hearn about restoring Dracula in high definition for its incredible, definitive release.
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.
An interesting slab of urban fantasy, but while Cornell is incredibly talented at setting the scene, he isn’t as gifted in capturing dialect.
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.
An incredible amount of humour, some memorable characters, and contextualisation that adds extra depth.
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.
In conversation with Jack Zipes about the history of fairy tales, their enduring appeal, and influence on the horror genre.
As a classic tale of good versus evil, the film required a strong representative of either side, and does not disappoint.
As an independent piece of literature, it’s fun, original, and can stand on its own two legs aside from the movie.
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.