With their ingenious recreations of radio productions from a bygone era, the troupe afford us a glimpse into the past.
Charming and oddly heart-warming, it’s testament to all involved that the film feels so fresh, energetic and cuspid-sharp.
A slow-burn approach with a dreamlike quality that is at times hypnotic indicates a filmmaker to watch in director-writer Francis dela Torre.
Rich characterisation, an intriguing premise and delicately handled direction enhance this full-blooded yarn.
Unstrained and anarchic, Lifeforce may not be considered Hooper’s best work, but it’s certainly one of his most wildly entertaining.
Follows original events more closely and benefits from this with a much more coherent and progressive storyline.
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.
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.
More concerned with style over substance; fast and fun, there is no pretence here for anything other than a bloody ride.
An arduous affair with a cringeworthy script that provides no value for the subgenres it attempts to straddle.
Bordering on unbearable, The Reverend pushes the limits of patience, the script basic and the acting self-consciously bad.
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.
D. Kerry Prior's limited experience mostly lies in SFX, but you wouldn't know it from what is perfect comedy timing.
The performances are faultless, but clumsy CGI removes the delicateness that had us so in love with the original.
An interesting and refreshing take on your standard toothy yarn, but the author lacks the ability to drive his purpose home.