“The Conjuring” movie universe has been a horror lovers dream, but sadly a mixed bag of movies that all interconnect in some form. The core movies that started it all are fantastic, while the rest have been either abysmal or mediocre. Thankfully, there was still some momentum in the popularity of Annabelle to allow for “Annabelle: Creation” to restore the missed opportunity that was her spin off. “The Curse of La Llorona” is a nice departure from Ed and Lorraine Warren that digs deep in to the roots of “The Conjuring” universe. It’s a horror drama about parenting, grief, revenge, and a vicious maternal villain like the previous films, but this time the producers dig in to Latin folklore.
Like a lot of previous efforts to reboot a property, Neil Marshall’s handling of “Hellboy” was the apparent product of studio interference and clashing ideas that resulted in a hectic shoot for just about everyone. That’s a shame since when Neil Marshall is allowed to unfold his own ideas and monsters, he gives us “The Descent,” and “Dog Soldiers.” It’s not to say that “Hellboy” is a bad movie, it’s just one half of a very good reboot that’s fun, and action packed, and one half of a sloppy studio film that’s boring, over explained, and sloppily tailored for sequels, prequels, and spin offs.
David Sanberg makes the leap from solid horror chillers to blockbusters with what is surprisingly one of DC/Warner’s most modest superhero movie to date. While “Wonder Woman” and “Aquaman” had massive epic plots about world wars and societies in peril, “Shazam!” is a more personal and down to Earth tale with very relevant overtones about bullies and the damage they can inflict on the people they victimize, as well as the environment around them. Sure, “Shazam!” is a superhero movie, but it’s also one worth watching for its positive ideas, and fantastic energy.
For this week’s edition of “Shorts Round Up of the Week” we have a look at pitch for toys involving Italian Turtles, a horror tale about a pale lady, and a comedic spoof of an eighties Christmas horror classic.
If you’d like to submit your short film for review consideration, submissions are always opened to filmmakers and producers.
Seven movies later, and the “Leprechaun” movie series is still alive and kicking. I fondly remember watching the original movie on a VHS rental back in 1995, and studios have found it a necessity to keep the saga of our demonic little person going. After the horrendous re-imagining of the series from 2014 that tried to turn the Leprechaun in to a faceless beast, “Leprechaun Returns” gets back to what made the original movie series so entertaining and deliciously silly. Sans Warwick Davis, the original Leprechaun, of course (he declined to star in horror films for a little while).
I know “Kolobos” mainly from late night cable where I was able to watch the final half of it back in 2000 was kind of blown away by it. Granted, this was before I’d seen a ton of movies and I was still young, but I remember loving it. Over the years it’s garnered a pretty loyal fan base and cult following, all of whom love it, warts and all. I mainly know it for being one of the last hurrahs of the video store age where low budget horror fare was reduced to straight to video on shelves, and not Saturday premieres on the Syfy channel.
I’m surprised “Treehouse” ends up being the best episode of Blumhouse and Hulu’s ambitious anthology “Into the Dark,” yet. I have to admit that I hated James Roday’s “Gravy,” so to see him approach “Treehouse” with a very relevant message, an inherent tone of terror, and some darkly comic undertones, was a welcome surprise. “Into the Dark” has been more hit than miss since its introduction in October, but with “Treehouse” it hits right out of the park as an ode to spring that explores hell having no fury like a woman scorned.
Featuring some of the greatest new and emerging female talent in the genre space, these films delve deep into the darkest human desires from a uniquely female perspective. These are films that delve deep into the darkest corners of the human experience, bringing an unforgettable array of monsters to the screen and offering a fresh and perverse perspective on horror. “We Are The Weirdos is at the core of what we want The Final Girls to be about: a platform which can nurture, champion and spotlight female talent at the centre of the horror genre.” adds co-director Anna Bogutskaya. “The programme is distributed by The Final Girls and it is our intention to make this an annual event at cinemas worldwide.”