Review: Desolation

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IFC Midnight has become a sable in the horror industry; churning out its share of fantastic flicks and the occasional dud. Luckily though, for fans constantly looking for the next horror film, IFC Midnight delivers in plethora. And for that, horror addicts should be thankful. One of their latest releases, Desolation, finds its light in the characters who bounce off of each other perfectly.

Following a recently widowed woman, her son and best friend on a hiking trip gone wrong, Desolation takes home invasion deep into the wilderness for a slow-burn that's somewhat tepid but unsettling nonetheless. Desolation stars Jaimi Paige (Peacock) as Abby, the mother of Sam, played by Toby Nichols (Iron Fist). The film also features Alyshia Ochse (True Detective) as Jen and Claude Duhamel (Valentine) as the mysterious stranger the trio encounters.

Jen is obvious cannon fodder to bolster the otherwise impossibly tiny kill count, but it's a shame since the actress is fantastic; a slightly wilder single woman whose confidence is undeniable. Her chemistry with the Paige's Abby - and to an extent Nichols's Sam - truly makes this movie. Without her finesse in establishing a truly special relationship onscreen, this movie could've gone a lot worse.

The plot, while incredibly simple is executed mostly well. The mysterious hiker could have been fleshed out more, but in a real-life case scenario, the victims would never figure out why he does what he ends up doing to them. In some ways, this subtle slow-burn may have actually worked even better if the protagonists received an even brighter ending. The lack of bloodshed could have been more effective had it been even more limited, since what little was shown seemed less like a choice than a fear of pulling the trigger.

 

Ultimately though, Desolation and its short runtime are definitely worth checking out. For the bond between the characters alone, this movie brims with a type of light so often missing from these types of slasher-invasion films. Each of the three is incredibly likeable and noteworthy, even if the fourth member of the cast remains completely elusive. Desolation is simple, taut and other than some flaws, mostly maintains interest. 6 out 10.

Review: Aliens: Zone of Silence

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While news of alien abductions and UFO sightings seem to enter the mainstream in intervals, the horror industry has churned out a near constant stream of encounter films for years. While many of these have proven to be terrifying endeavors, like The Fourth Kind and Dark Skies, some have used far too many effects, leaving a product that is less than desirable, like Skinwalker Ranch. But still, the fear of the unknown has stood the test of time, whether through creepy atmosphere or the fact that if and when they come, we'll all have little power to stop whatever they choose to do. The latest film to enter the string of alien flicks is Aliens: Zone of Silence, which is currently streaming on Netflix.

Following a young woman searching for her brother after he disappears in a Mexican desert, annoyingly named the "Zone of Silence." Aliens: Zone of Silence is far too similar to alien flicks before it. Like a mixture of last year's forgettable but entertaining Phoenix Forgotten and the indie horror film Banshee Chapter, this search-and-rescue mission has an ending that anyone could have seen coming, but without the horror that'd allow you to overlook it. It stars Sarah Hestler (American Satan), Peter Gesswein (A Plea for Tenderness) and Jed Maheu (51).


Aliens: Zone of Silence might be worth your time if you're looking to lose an hour and 20 minutes of your life with little recollection of how it was spent. But otherwise, it's best avoided. Less likeable and shallower characters leave this half-baked flick feeling like a dud. Sure it's not offensively bad, but in some ways, maybe it should have been. Then maybe it'd infamously be remembered for something; even if that thing is laughable.


Sure, Phoenix Forgotten was just the desert version of the Blair Witch Project, but at least the characters felt more entertaining and the scares were at least somewhat adequate. But, this bland copycat never really makes any progression or moves that haven't been done better a hundred times over. So much of it relies on shaky, broken cameras and bright lights in the sky that the shallow characters never seem to be in the great of danger.


The fact is, Aliens: Zone of Silence is just plain and boring. There are no thrills, no interesting characters and little to zero plot line. Horror films don't have to be perfect, but they should at least fulfill something. By the time Aliens ends though, you'll have instantly moved on, having forgotten what you wasted time on and that is almost worse than wishing you had your time back. 4 out 10.

Best in Show: Horrors of 2017

In the year that was, the news was filled with plenty of real, terrifying horrors. But, running alongside it and keeping pace were the horror films churned out by 2017. From small-budget indies to big-budget blockbusters, the future of horror was confirmed in this year's fantastic releases. Even among duds like Rings and The Bye Bye Man, fans had plenty of material to devour and to be devoured by. And, while some circuit films have yet to receive a wide release, the movies available to the masses certainly left a mark. This week's list loos at the best horror films of 2017.

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10. A Dark Song

By-and-large one of the most aptly titled horror films of the year, IFC Midnight's A Dark Song plays out like a seething ballad. With darkly comedic moments sprinkled amongst the ashes of this slow burn, A Dark Song features a pair of loners who come together to in the hopes of performing a ritual. The woman, who lost her son, hopes to reconnect with him and the man, whose motives are less sound, pair off perfectly. Their building tension and chemistry between the actors - Catherine Walker (The Clinic) and Steve Oram (Sightseers) - make for a truly compelling experience and the horrors, interwoven with messages of faith

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9. Prevenge
Perhaps one of the weirder horror films to be released in recent years, the British import, Prevenge, is a bit of an enigma. Quirky to its core and blissfully unapologetic, this prenatal flick follows a young, down-on-her-luck pregnant woman, Ruth, who begins hearing the voice of her unborn child from within telling her to murder the annoyances around her. The movie benefits from its incredible pacing. It's a quickly-unraveling, but constantly entertaining story that hosts a ton of odd turns, including a stellar supporting role played by Kate Dickie (The Witch). Prevenge most certainly won't appeal to everyone, but this dark and pointed comedy-horror on motherhood packs quite an uncomfortable punch.


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8. The Void

With a low budget and impressive visual effects, The Void is the rare indie sci-fi film that actually benefits from a lack of expensive CGI. Perfectly balancing the cult and alien subgenres, this movie brings plenty of twists and turns as characters trapped in a hospital quickly realize they're involved in something far greater with far more sinister intentions. The Void makes the most of its simplicity through fantastic characters, ambitious effects and particular style. It's one of the year's must see for fans of the 80s and beyond.

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7. Raw/Super Dark Times
While the supernatural seemed to dominate the horror industry this year, two thrilling, grounded films brought a certain unrestrained intensity to the genre. Both Raw and Super Dark Times tell an unhinged coming-of-age story much drearier than typical fare. Raw, which follows a young vegetarian vet student who develops a taste for human flesh, features a sisterly bond that feels deeply real and deeply personal. Then, in Super Dark Times, a group of social outcasts find themselves at the center of an incident that quickly spirals out of control. Each use realism to instill a sense of long-lasting dread in its viewers. Raw and Super Dark Times expanded the boundaries of where horror could go, focusing less on inherent evil and more on the terrors that come with small decisions and mistakes that can change lives forever.


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6. The Devil's Candy

The second IFC Midnight film to make this list is also one of their best ever. The Devil's Candy is a rock-n-roll, metal possession film oozing with stylistic flair. Featuring a stellar cast, including Shiri Appleby (UnREAL), The Devil's Candy is the rare horror film that features a family that's entirely likeable. Each of the three is youthful, interesting and completely watchable. This, alongside a fantastic score and camerawork make for a movie that is an absolute must see - especially now that it's on Netflix.

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5. The Blackcoat's Daughter

It's been a long year. So long in fact that it's hard to believe that The Blackcoat's Daughter didn't receive a wide release until 2017. One of the most ultimate slow-burns ever in horror, this film could be easily overlooked by fans of the mainstream gut-punching jump scare, but it shouldn't. Both sides of the horror coin matter and can be appreciated, and if any film could appeal to everyone, it's this one. Emma Roberts, who's scream queen resume only continues growing, is absolutely amazing in this film which is full of disturbing twist and turns.

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4. Happy Death Day

While the slasher subgenre seems to have taken a backseat in recent years, Blumhouse Pictures' Happy Death Day proves it still had legs. Bitingly funny, at varying points tense, and wholly entertaining, this Groundhog Day-esque movie is surprisingly stellar. Jessica Rothe shines as a college student who relives the same day of her murder over and over again until she can find out the killer. Audiences can expect to be completely captivated by the film's bonkers premise and execution as Happy Death Day gives new life to a disappearing subgenre.

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3. It Comes at Night

It Comes at Night is The Witch of 2017. Perfectly styled and disturbingly dark, this pandemic-based film came hot off of the festival circuit with rave reviews. Naturally, the wide release was met with similar applause as viewers fell in love with the atmospheric tension that runs deep throughout. The dream sequences are horrifyingly anticipatory and with some gut punches to be expected later in the film, audiences can expect to be thoroughly gloomy after it ends. It Comes at Night doesn't necessarily reinvent the wheel but it does a good job at keeping it greased.

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2. IT

Brimming with nostalgia and hosting a collection of perfect young stars, IT captured almost everything that made the Stephen King book so popular. It may not be the scariest film ever, but it’s certainly one of the highest quality horror films in recent years. There are plenty of genre-bending, moments of terror and even great laughs to make every moment feel justified. Overall, It is everything audiences will expect to see. By offering some great retro style, perfect cinematography and great scares, this film feels like a complete product. IT masterfully executed and a polished reminder that that a big-budget, R-rated horror film can have mass appeal and not lose the insidious scares. Here's hoping for more.

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1 Get Out

One of the most rightfully lauded films of the year also happens to be a horror film. Perfectly pairing political commentary and race with horror and inflections of comedy, Get Out is close to perfection. It's easily one of the best horror films in years and probably one of the best films in general. Props to Jordan Peele and the cast who committed themselves to every aspect of this game-changing creation. Some would probably call the success of Get Out a surprise, but horror fans know all too well how many films are deserving of accolades and so often ignored because of their genre. Hopefully though, Get Out signifies a change in critic culture that neglects to include horror just because it's horror.   

 
Honorable Mentions:

Annabelle: Creation

Recapturing what was lost in the first spin-off of The Conjuring, Annabelle Creation was conventional, but definitely terrifying.

Alien: Covenant
Despite "fan" backlash, this nasty flick features great acting, especially by Michael Fassbender, and plenty of scary action.

Split
M. Night Shyamalan's Split was a nice kick-off to what could have been a down-trodden year for horror thanks to early entries The Bye Bye Man and Rings.

Nails
While nowhere near perfect, Nails is a little indie film with a lot of potential.

 

Review: Mayhem

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The workplace can be a jungle of uncertainty. Especially in competitive office spaces where even the smallest moments can unravel into failed promotions and blacklisting, jobs can seem almost deadly. Whether it’s dealing with annoying and sometimes manic coworkers or an infuriating boss, some offices are unbearable. Capturing this are a recent string of workplace horror films, most recently done in Mayhem.


Starring Steven Yeun (The Walking Dead), Mayhem follows an unfairly fired employee of a large white-collar corporation where a virus that causes you to act out your worst impulses is released into the air system and the entire complex enters lockdown. Mayhem works through some cheap ploys with poignant and campy comedy and fantastic acting. Other actors include Samara Weaving (The Babysitter), as Yeun's character's love interest, Steven Brand (Teen Wolf) as the buildings big boss figure, and Caroline Chikezie (Aeon Flux) as a cut throat coworker.


The film's strengths most definitely come in its crazed charm. Despite at times feeling strikingly similar to The Belko Experiment  Yeun and Weaving are each powerhouse performers who ooze both chemistry and personality. Even the obtuse and over-the-top side characters like the one played by Chikezie or her assistant are entertainingly juicy. The cast oozes cheese and whether or not it's intentional, it certainly works in favor of the film. Had things been so serious and glum, the resulting product would not be nearly as enjoyable or worthwhile.  


For fans of The Office or any of a number of shows or movies covering the very serious lives of coworkers in an office, Mayhem is a true change of pace. This isn't a soft workplace comedy or a serial drama. Instead it plays like a comic; consistently gritty, but with a sense of graphic-novel novelty. The premise is simple but the execution is all too delectable, making Mayhem worth the mayhem. 6 out 10.

Best in Show: Holiday Horrors (Pt. II of II)





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5. P2
P2 isn't the most memorable horror film. But, with a fantastic concept and a terrifically loony role for Wes Bentley, this Christmas horror movie should be anything but forgettable. This typical obsession-slasher movie follows a corporate woman working late on Christmas Eve who becomes entangled in a cat-and-mouse game with a security guard blocking her in a parking garage. Things transpire with typical horror conventions but the resulting film glows with holiday cheer and is an entertaining addition to any yuletide playlist.



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4. Black Christmas

Whether deciding on the campy, spooky original or the somewhat grotesque remake, Black Christmas is a practical go-to slasher film for the season. Neither are masterpieces and both have some great aspects, and some really bad ones. But, while the bad is glaring, the good provides enough jolly holiday fun to make them more than worthwhile. The original's use of horrifying, telephone breathing and the remakes obscenely terrifying killer provide the perfect reminder that while these movies are definitely reserved for a certain time of the year, they will always be scary. 

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3. Better Watch Out

One of the best Christmas horror movies out there also happens to be one of the newest. Starring a cast a fantastic young stars, Better Watch Out is a twisty slasher brimming with the essence of the holidays. The visuals are lush, the lights warm and the bloodshed gory. All of it culminates into a perfect experience with funny, but intense results. Better Watch Out deserves the fan base it's rapidly collecting because it's a spirited and captivating holiday horror film that knows how to work its simple premise. Better Watch Out is now streaming exclusively on Shudder, a great move for a great movie.







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2. Rare Exports: A Christmas Tale

Rare Exports: A Christmas Tale is probably the most outlandish film to make this list. Odd, but actually scary, this comical Finnish horror flick is reminiscent of the worlds of Guillermo Del Toro, but with an undeniable locale-point of view. Rare Exports is now streaming on Prime which makes it all the easier to see for those of us who may have missed it on its first rounds. Full of festive undertones, brimming with sweater-adorning characters and really, really scary elves, this holiday movie is a blast.

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1. Krampus
While maybe the most typical option and the more famous out of the others, its negligent to ignore how polished Krampus is. Never taking itself too seriously, the film is full of campy scares, jovial comedy and overall high quality entertainment. Not only is it an effective holiday flick, it’s also a terrific horror and comedy one too. With characters that are unlikeable, yet lovable, elves as creepy as those in Rare Exports and plenty of odd baubles and trinkets that come to life, the ever-charming Krampus is a masterful blend of cinema.



Best in Show: Holiday Horrors (Pt. I of II)

The holidays can be a pretty fun time. Whether gathering around a tree or lighting the menorah, we're constantly reminded that this is a time for family and to resonate on all the things we're thankful for. But, for some, the season is a reminder of how terrifying their family is. This week's list covers the best holiday horror movies. On it, there's a notable absence of Gremlins, simply due to the overly fond memories held of this movie as a happier, campy children's film. The rest of these flicks are most certainly aren't meant for kids and will add an adult flair to an otherwise typical family theme found on Hallmark and Freeform. So without further ado, happy holidays! May they be as horrific as they are in these films.



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10. The Children

Cheesy and sometimes annoying, The Children gets plenty wrong in its attempts at making a horror film about a gaggle of youngsters who turn on their parents. The adult characters, and especially the one teenager unaffiliated by the strange happenings, are all pretty one dimensional. But in some ways, this makes the bloodbath that much more fun. The Children never really makes hearts beat faster, but it does provide a few good laughs and plenty of jovial moments with psychotic children doing exactly what one could expect. 


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9. The Conjuring 2

The Conjuring 2 is a terrifying horror sequel. If this was a list on modern horror movies, it would even be placed higher. But, what is often overlooked is that this film is actually a holiday movie. Taking place during the holiday season, even featuring Christmas decorations, The Conjuring 2 has even received (sarcastic) confirmation from creator and horror icon James Wan that the follow up of the fantastic original is, in fact, a Christmas horror movie. Even without many references, this movie is about family and its themes are reminiscent of those shared during yuletide celebrations. All that's missing in this generally not-about-Christmas-but-most-definitely-is-about-Christmas horror film to push it up this list is perhaps some more sparkling lights.

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8. Body 

Want to lose the Christmas spirit? This indie-thriller following a trio of girls who accidentally push a groundskeeper down the stairs of a house they broke into is just the kind of darkly mean-spirited flick to halt any thoughts of Santa or elves. Intense and void of any joy, Body would best be reserved for those who hate holiday fun. While the movie may have some disturbingly comedic moments, the ever-grim Body definitely isn't for the faint of heart.

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7. Orphan

Often forgotten on the list of Christmas-themed horror movies is Orphan; a film that takes place almost entirely around the holiday season. With perhaps one of the most iconic plot twists in modern horror, it's easy to forget how holiday-driven Orphan is. From scenic snowfalls and warm interior tones, to a Christmas tree and presents that matter later in the film, Orphan is a must-have inclusion for any jolly horror fanatic. Like many of the movies on this list, the themes go deeper than the setting and décor, featuring a family that must stand together or be ripped apart.

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6. Wind Chill

Before she stars opposite her real-life husband as a mother who must keep her family safe from a supernatural danger attracted to noise, Emily Blunt first starred in a little horror film called Wind Chill. Following two classmates who end up stranded on a "scenic" route during their trip home for the holidays, Wind Chill is an on-the-fly tale reminding all of us to be thankful for all we have, no matter how we got it or where we are. Wind Chill could have easily been a terrifying survival film, but when it ties in ghostly elements, audiences will certainly find plenty to appreciate during the holidays, given the sad lives of the road's previous victims.

Worst in Show: 2017 Horror (Pt. II of II)



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5. Wolves at the Door
Horror fans eat up pretty much all types of brutality in film as long as the result is warranted, fictional and generally in tasteful,  good fun. So when the marketed-as-a-horror-film true account of the grisly Manson Family Murders was unleashed in the form of Wolves at the Door, it should have come as no surprise that this unnecessary, distasteful and one-dimensional depiction left little to satisfy viewers. Told through a true perspective with little added depth, this movie would have done far better to stay clear of any real life cults, members or slain victims with living relatives. At least then the very blatant The Strangers rip-off would feel a little more spirited and tactful.

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4. Be Afraid

Indie horror can lead to some pretty great little gems. Unfortunately, Be Afraid is far from sparkling. Confusing, immature and generally dumb, Be Afraid should have stayed out of the public purview. It's a laughable and disjointed little film with little to enjoy and little to write on.

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3. The Bye Bye Man

The Bye Bye Man is a rough film to get through. Melding teen horror, far too many conventional scares and poor CGI, this almost jokey movie didn't raise any hopes for the 2017 year in horror. The Bye Bye Man is filled with unlikeable and generally unreasonable characters with little meat. Like so many made-for-the-masses horror films, like Ouija, this movie felt deeply insincere and unstylish; two things that could have been changed and brought the movie a long way past the mediocrity viewers were left with.

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2. Rings

Objectively, Rings is the worst horror film of the year. In a rare first-person perspective, I've not forgotten how terrible this film was and how more than half of the audience in my theater stood up and walked out midway through. The experience was painful, but unlike anything I'd ever witnessed. No movie I've seen in a theater - big or small - has caused such a unanimous uprising. Tepid, poorly acted and incredibly tension-free, the CGI-fueled Rings felt insulting to both the original Ringu and the American remake. It wholly deserves every criticism it gets, and probably more. In fact, had it not been for one film's release, it would most certainly take the top spot. 

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1. Jeepers Creepers 3

In a second rare first-person perspective, I'm going to declare here and now, that I never saw Jeepers Creepers 3. But almost as objectively as one could look at Rings and personally as a human being, I can say that this movie is surely garbage. Directed by convicted child molester Victor Salva, Jeepers Creepers 3 picks up after the first film and... Well honestly, it doesn't matter because this movie was an offensive cash grab. It's an insult to horror fans everywhere that spend much of their time arguing that the genre isn't filled with creeps and criminals. That's it.

Worst in Show: 2017 Horror (Pt. I of II)

For what has been a mostly stellar year in horror, from big budget masterpieces to smaller indies, there have been a number of misses in the industry this year. So, as the prospects of ripping open some presents begin to take over minds all across the country and much of the world, we're taking a moment to rip open some of 2017's worst horror movies. Like those fantastic releases this year, these terrible horror films come in all shapes and sizes. Sequels, reboots and indies, alike found plenty to groan over. Here are the ones that warrant the loudest noises of displeasure.

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10. Amityville: The Awakening

In Amityville: The Awakening, Bella Thorne continues to jumps deeper down the scream queen rabbit hole and horror fans ask why she's being allowed to. What makes her marketable in these roles? In this film, viewers will continue to wonder. Bland, typical and far less impressive than most haunted house films, Amityville: The Awakening does answer the question as to why it had such a tumultuous release- it just wasn't worth releasing.

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9. 12 Feet Deep  

Winning points for concept, but losing the majority in execution, it'd be easily to believe that 12 Feet Deep would be the claustrophobic thriller of the year. Supposedly about a pair of sisters' fight for survival trapped in an Olympic pool, this movie brings in too many other plot lines in an almost anxious fear of the silent, overarching dread it should have driven (swam?) home. 12 Feet Deep isn't the most offensive release of the year, but it’s certainly one of the biggest let downs.

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8. Darkness Rising

IFC Midnight has been quite a savior for horror in recent years. Distributing some of the biggest names in modern horror, the typically sleek distributors have dealt out some duds, but mostly their releases have been great. Unfortunately, one of their duds - this year's Darkness Rising - is a mark too big to ignore. Annoying, unintelligible and poorly told, Darkness Rising definitely brings the darkness. If only there was something scary within it.  

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7. The Mist (TV Series)

What began as an intriguing recreation of the Stephen King novel of the same name, quickly divulged into a schlocky and redundant piece of bad special effects, mediocre acting and unlovable characters. The Mist isn't a movie and thus it’s difficult to compare to others on this list, but in a way, that makes it almost worse. Given an entire season to bring in the fears and unleash terror on audiences, The Mist serves as a blatant reminder that horror is only good, when all of its pieces work together. Not helping its situation is the previously released feature film of the same name that is far superior.

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9.  Cold Moon

Just yesterday, Cold Moon received a scathing review from HOR(iley)ROR noting it as competition for worst of the year. However, upon reflection, it gets somewhat of a pass in light of movies that are somehow even worse. A mystery thriller with supernatural elements, this film follows the aftermath of the murder of a young woman in a small southern town. Digestible but not much else, Cold Moon feels entirely senseless. The violence? Senseless. The characters? Senseless. And the plot? Completely senseless. In multiple scenes it becomes clear how difficult it must have been to sell this movie to any distributer. There is little rhyme or reason for any of the film's direction and in the end... Well, chances are you won't make it that far.

Review: Cold Moon

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What counts as a horror film? For some, horror movies are exclusively supernatural in nature. Haunted houses and aliens, werewolves and vampires, these movies represent a pretty narrow perspective. But for others, the broader definition includes thrillers like The Gift or The Invitation; movies designed to create a sense of dread or by definition, horror. This second world, the one in which more movies count in the genre because they truly deserve to, is the one that should be the rule, not the exception. Unfortunately though, this opens up the door to some bad ideas and some even worse films that horror sites must review. Movies like Cold Moon.

Following an investigation into a young woman's murder, this southern thriller is an absolute mess of a movie. With little actual direction and a main villain that is relatively unstoppable or suspected by the characters until the ghastly images he sees cause him to go insane, Cold Moon is like Gone Girl if Gone Girl was filtered through a horrendous, supernatural lens.  It stars Josh Stewart (Interstellar), Robbie Kay (Fugitive Pieces), Candy Clark (Zodiac), Frank Whaley (Pulp Fiction) and Christopher Lloyd (Back to the Future), all playing what is probably their worst roles to date.


The stupidity of the characters is constantly on full display. One scene where a character just leaves his car at the beckon call of a masked man possibly seeking help is completely ridiculous and unrealistic. There is no actual substance, rhyme or reason to him willingly getting out of the vehicle, and yet, here we are with two dead main characters. Then there's the awkward male gaze in one particular scene seems negligent considering it serves little purpose outside of showcasing a barely clothed woman in the woods with her fully clothed boyfriend. It’s a smaller part of a whole mess, but important to note nonetheless.


But the character work isn't the only thing wrong with Cold Moon. All too frequently, the dialogue relies on buzzwords like rattlesnakes and phrases like "the sticks," making blatantly clear that the filmmaker's perception of the South is relatively shallow, Its score - melodramatic and overstated - removes any sense of suspense or atmosphere. The flashback cutaways seem pulled from dramatic PSAs from the 90s.


Cold Moon is bad, almost offensively so. It's predictable, uninteresting and drearily tossed together. Viewers able to stick through this movie in its entirety deserve a reward, especially considering the film gives little to satisfy. They'll find little quality in this mystery thriller- if you can even call it that.

 

Review: Slumber

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Sleep paralysis films seem to be all the rage in horror right now. From the fantastically creepy documentary, The Nightmare, to the mediocre-at-best Dead Awake, the uptick in these films has also inspired a lot more people to come forward with their nightmarish fears. But, where the documentary succeeded, no fictional account of the disorder has quite captured the uniquely horrifying experience. Looking to change that is Slumber.

Operating on a fresh perspective from a sleep doctor who encounters a sinister force behind a family's sleep paralysis experience, Slumber does little to hold interest. While its premise provides a new, more medical angle the movie's conventions are all too known and done superiorly better in other supernatural demon flicks. There's the typical empty dark space scares and some odd placement for scoring, this along with contrived creepy children and bland, one dimensional acting from supporting cast are all telling signs of an inexperienced filmmaker's blunders.


Slumber is directed by freshman Jonathan Hopkins and stars Maggie Q (Divergent) as sleep doctor, Alice Arnolds. It also features Will Kemp (Reign) as her husband, Kristen Bush (Liberal Arts) and Honor Kneafsley (Miss You Already) as the two most resonating Morgan family members, Sylvester McCoy (The Hobbit) as the token spiritualist, and William Hope (Aliens) as a fellow sleep doctor. As noted the majority of them are mediocrely elaborated on, brimming with flaky dialogue and uninteresting decisions. McCoy makes the greatest offences playing a really obnoxious former sleep paralysis victim and Hope is the only one who isn't a complete disaster in a supporting role, but he's a much smaller part of the film. For Maggie Q however, one of the only salvageable actors from the mess that was the Divergent franchise, Slumber once again finds her as a bright spot. She deserves better than this film as she did Divergent, and it'd be a welcome opportunity for her to continue down the horror path.


Outside of the dialogue and character issues, there is still one glaring missed opportunity and that's that Slumber itself just isn't entertaining. It drags on with far too many recycled techniques. It's as if the filmmakers sat down, watched a host of successful horror films and decided to adapt their scenes into a poor medical drama. The tension is nonexistent and the plot aimlessly stumbles along until it finally ends with little more than a fizzle.


Slumber is instantly forgettable. It’s not the type of movie worth watching and even if people did, they'd be hard pressed to find others who remember it enough to talk about it with. It’s got a lot of missed opportunities as it drags a great premise through too many conventions. Even with Maggie Q's bright light, this film feels dim. It’s a shame, too, because in a world where Dead Awake wasted  Jocelin Donohue's talents, it seems Slumber did once again with Maggie Q's. 3 out 10.

 

Review: Dismissed

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It's always a little uncomfortable when a child star transitions into adulthood. If done well, this move can come with an entirely new fan base and well deserved accolade. Done poorly and the complete brand change can feel rushed, phony and problematic. Especially in acting, many young stars have found it difficult to move from small screen kid’s television shows to big screen or primetime adventures. Look no farther than Disney which has churned out star after star with some great successes and some awkward failures. Currently on an uptick though, is one of the breakout stars of The CW's Riverdale, Dylan Sprouse.

With his latest feature, an Orphan-esque teen horror film titled Dismissed, the future seems bright for Sprouse, even if the resulting film is ridiculously shallow entertainment. Dismissed follows a new high school student, Lucas, who's hell-bent on receiving an A and getting into Harvard. Things transpire as one might guess when he receives a B on a paper that looks more like a novel than an assignment. Dismissed also stars Kent Osborne (Adventure Time) as the offending teacher, Chris Bauer (The Wire) as Lucas's father and Rae Gray (Fear the Walking Dead) as a victim of Lucas's villainy.


Dismissed is most reminiscent of a Lifetime movie, but with a horror edge. Like a paper-thin Orphan, it definitely is a tossed together project meant to capitalize on Sprouse's recent fame. The plot is far-fetched, the dialogue is often ridiculous and the characters are sometimes flat. Dismissed isn’t even all that interesting given the plethora of other, more superior obsession stories available. Yet, there is something oddly satisfying about this movie.


Despite its many flaky shortcomings, this film finds the light in its actors. Each of the actors is fantastic in their relatively melodramatic and over-the-top roles. Osborne's plays a caring father who will do anything to protect his family well, even if his dramatic dialogue is a bit cheesy and Gray's Becca is scarily gullible. But as mentioned, the truest star is Sprouse who captures the meticulous and unhinged Lucas well.


How does Dismissed end? Exactly how you think it will. This movie offers no surprises, no shock value and very little scares. But as a whole, Dismissed makes it far on its short little legs. It’s an easily digestible, stupidly enjoyable endeavor that anyone could rip apart but most will probably just rather sit around and invest around a television with friends. 6 out 10.

Review: Like.Share.Follow

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In recent years, horror and technology have converged. From found-footage films that use drones to entire plot lines needing the internet or Skype to function, these movies have a growing history in the genre. Building on this new world of digitalization and tying into last week's list of these movies is the newly released Like.Share.Follow.


Following a semi-famous teen Youtuber and his friends, Like.Share.Follow. is a winding exploration of obsessive celebrity culture and the length fans believe themselves to be a part of the lives of constantly status updating celebrities. Released alongside Totem by Cinemax, The movie takes a turn when a young woman decides to take her obsession to the next level and go from online-stalker to physical stalker, as she seeks out and becomes romantically attached to the Youtuber. The film stars Keiynan Lonsdale (Insurgent) as Garret, the Youtuber who is tricked into a relationship with his obsessive fan, Shell, played by Ema Horvath (Burning Kentucky).


Like many teen horror films, the quality of Like.Share.Follow. resides mostly in entertainment value, rather than actual scares. And unlike the aforementioned and previously reviewed Totem, Like.Share.Follow. is truly fun. Far more watchable thanks to Lonsdale who carries a large portion of the film on his charisma alone, Like.Share.Follow. isn't all that groundbreaking or original. But, it's definitely better than the comparative Totem and certainly way more enjoyable to watch. Horvath is also great in her role as the unhinged girl who simply cannot process that what she's doing is quite insane.


Like.Share.Follow. works best as an exploration of youth and digitalization. The very intimate nature of social media and the connection celebrities now must maintain with fans is on full display throughout the movie. Despite it's been there-done-that stalker premise, the heavy hand of modern life helps it stand out. This isn't just another recreation of The Roommate or Misery, it's its own thing altogether. It’s the type of movie that in a world of short attention spans is capable of holding audiences attentions with all its new gizmos and gadgets and atmosphere of “what-ifs.”


Like.Share.Follow. does the most with its stale narrative. With plenty of youth-driven plot devices and a great final punch, it's hard to deny the movie's personality. Turning out great performances by young stars and capturing the unhinged nature of stan culture, this movie is worth sitting through - even if you find that your phone is out the majority of the time. 6 out 10.

Best in Show: Digital Damnation (Pt. II of II)



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5. Bedeviled

Recency bias aside, Bedeviled does a fantastic job at capturing youth digital culture. The very basis of this film surrounds an app that seems like a must-have, but later turns into a must-be-stopped. With plenty of creepy scenes and a devilish voice crackling through mobile devices, Bedeviled is perfectly entertaining, even if a little silly. This film feels fresh thanks to its pairing of teenagers' attachment and need for their phone at all times and a demon that comes along with it.

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4. Kairo (Pulse)

Kairo, a Japanese horror film that finds a number of victims battling an internet ghost, is a well-regarded classic. It's a slow-burning, dual-storyline flick that was one of the first digital horror movies of its kind. With a fantastic soundtrack, dreadfully tense moments and effective acting all make for a film that Is really well put together, even if early-2000 visuals run rampant in Kairo, taking away some of its power. But, despite this hurdle, Kairo is still scary - scary enough to watch now, even If our computers are very different and the impact of some of the more special effects are antiquated.

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3. The Den 

In The Den a young researcher's social experiment goes horribly wrong when she witnesses a murder on an online video chat room. In doing so, she unbeknown to her becomes the killer's next target. Easily one of the scarier found-footage films to come out of the modern era, The Den is intensely grounded, ensuring a terrifying time for those who live alone. The Den use of idle time spent with digital strangers to instill fear and it’s very effective.

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2. Ringu/The Ring

The Ring was all the rage when it was released. One of those Asian-import remakes that managed to capture at least some of the original's fantastic horrors. Easily one of the most iconic horror films of all time with a ghoulish figure that has been recreated over and over, Ringu and The Ring are certainly classics. Each features the ghastly Samara who kills her victims seven days after they see a disturbing VHS tape. Later adapted for the more modern era, but better left in the day of VHS shelves, this franchise is deservedly a forefather of technological horror.

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1. Sinister

While Ringu and The Ring are often considered the best of the best when it comes to horrific technology, it's hard to argue the deeply disturbing effectiveness of Bagul moving through pictures and video tapes. Sure, Ringu is a classic, but it continues to age and in a world where VHS isn't even accessible to most, it feels dated. Even with the follow up Rings, the magic seems almost lifted from these terrifying horror films. But, what has yet to be effected by time is the continually scary Sinister. More transcendent of time than The Ring franchise, the evil demon at the center of Sinister needs only images of himself to move among worlds - something that works especially well in homes filled with screens. From laptop images to pictographs to moving videos, Bagul can visibly stand the test of time and could continue to do so in theaters, even if its lackluster sequel underwhelmed.