Chris Bickel’s indie film THE THETA GIRL is splatter gore with intelligence and a conscience.
On one level, this “Netflix original” flick seems like that proverbial “film we’ve seen before” — several times, in fact. It’s a coming-of-age-through-trial-by-fire story that’s fittingly described by cliches. On another level, but related to this one, it’s a semi-clever horror comedy. How much you’ll enjoy it depends on at what level you receive it.
A Catch in Time: Chapter One is an intriguing teaser for a work of potential greatness.
AMITYVILLE: THE AWAKENING falls into the category of films that really didn’t need to be a sequel. Certain movies seem as if they would have been better received if released on their own.
SHEITAN (Kim Chapiron, 2006) is a French take on the classic American hillbilly horror film, seasoned with themes and tropes from the New French Extremity.
Ana Lily Amirpour weaves universes out of pop culture. Her second film, THE BAD BATCH (2016), is her fantasy of America in the 80’s: a post-apocalyptic, skater culture soaked in drugs and glam. It’s lecherous and carnivorous, lonely and outcast from the promised Eden of the 60’s. But with a touch of John Hughes.
In a low-down and perverse way, it’s still fun to watch.
As the title character in THE WOMAN (2011), Pollyanna McIntosh is a finger-chomping, scowling badass, and, in my opinion, one of the most interesting characters in modern horror.
When contrasted against last year’s similarly-themed (but far more original) Pet, Berlin Syndrome seems especially disappointing.
Billed as a sci-fi/horror film, Life (2017, dir. Daniel Espinosa) is more accurately a semi-lame thriller based on the familiar sci-fi trope of contamination by an alien species.