• Ouija: Origin of Evil

    Ouija: Origin of Evil


    A fatherless family of mystic scammers who happen to live in a house that once belonged to an escaped Nazi who would capture those hunting him and conduct "Nazi experiments" on them use a mass produced children's game to discover that their house is haunted by the ghosts of those victims who want revenge on the living, but also help out with the rent.

    That little girl is C.A.F. Creepy. As. Fuck.

  • Halloween Kills

    Halloween Kills


    It's been a few decades since I've watched one of these, and I didn't see the preceding film in the series, so I was a little miffed by the... well, I'll just go ahead and call it a "plot" for the sake of argument.
    So, cut me some slack if I'm missing it, but here goes: the town lynch mob are pro-Trump 01/06 terrorists and Michael Myers is American democracy.
    That is so bonkers it makes me wish the movie was good - I mean, y'know, by non-slasher film fan standards.

  • It's Alive

    It's Alive


    "People without children don't realize how lucky they are."
    Naw, many of us do.

    The cops are hunting the monster baby.
    The pharmaceutical company wants the monster baby destroyed so their product can't be tied to creating it.
    The local university wants the baby to study it.
    The father wants to kill it to prove to a conformist society he isn't responsible.
    Here the mother isn't listened to because, well, patriarchy.
    And the father is fired from his job for having a monster baby because, well, conformity.

    And then there's the milk. All that milk.

  • The Velvet Underground

    The Velvet Underground


    After a second viewing, I found this documentary mildly less disappointing than my first viewing, although it fails to live up to the intro's awesome reveal of the VU's logo with strains of their music playing behind it.

    But even after viewing #2, it still seems to be a "for fans only" documentary that doesn't give fans anything new - no new footage, no new insight, significant parts of the band's story ignored, skipped over or left out. However, the use of some demo tracks are nice.

  • The Velvet Underground

    The Velvet Underground


    Todd Haynes is a maker of dull and self-serving films. 1995's Safe is one of the few movies I couldn't be bothered to finish. In Velvet Goldmine, his exploitation of the Glam Rock era confused and mixed an important cultural moment that is little known and even less understood in the United States.

    Here he tells the story of one of the lesser known/least financially successful but most important bands of the 20th century and instead of using that as…

  • Nomads



    A woman is haunted by the transferred memories of Pierce Brosnan being tormented by modern nomads - punks in a van in this instance.

  • The Manor

    The Manor


    Stupid Boomer horror.

  • Malevolent



    Ghost hunting scammers discover they have inherited family lunacy/otherworldly skills on a job investigating a malevolence in a house that turns out not to be the spirits of the children murdered there.

    I guess it was made a period piece to have an excuse to edit in some haunting VHS footage and remove the ability of the characters to use a cell phone.

    Pugh is better than this movie.

  • His House

    His House


    His House feels like a Small Axe Halloween Special.

    More art house film than horror, His House uses the emerging refugee/immigrant sub-genre to explore how we carry trauma and guilt over the things we might have to to do survive with us and let them sabotage our efforts to recreate ourselves.

  • No One Gets Out Alive

    No One Gets Out Alive


    A few plot holes aside, No One Gets Out Alive is a nice, slowly building creepy horror flick centered on an illegal immigrant with some bad decision-making skills finding herself in a house of horrors operated by two brothers, one of whom is addicted to tending to an ancient cube and all that it contains in the basement.

  • Mass Hysteria

    Mass Hysteria


    Conceptually, Mass Hysteria is promising: Halloween revelers believe a group of Salem Witch Trial reenactors are actually witches. It's all the more frustrating that not much is done with the idea.

    And the cast feels annoyingly drama clubby.

  • The Guilty

    The Guilty


    "Broken people save broken people."

    This movie is the most Jake Gyllenhaal of any movie ever.

    He plays an asthmatic 911 call center operator with a lousy attitude cuz he's normally a street cop but he's on desk duty pending a trial.

    But as we know, all cops are bastards, so...

    Feels very one-man-play/Covid-era productiony.