[5.25/10] The Haunting in Connecticut 2: Ghosts of Georgia (2013)

The Haunting in Connecticut 2:

Ghosts of Georgia (2013)

Brief review: Claiming it's based on a true story, which somewhat hard to believe, "The Haunting in Connecticut 2: Ghosts of Georgia" is some sort of sequel to "The Haunting in Connecticut" from 2009, or more like a sister film, to be exact, as it has nothing to do with the original story-wise or otherwise. Let's face it, the first movie was cheesy, yet entertaining, and the case with this one is pretty much the same. Unlike the original though, this one doesn't spend any time in building suspense properly, as it starts off straight away with the cheap scares, and the stupid ghost visions. The whole "I see things" premise is so familiar, it hurts, and the plot is basically 'been there, done that', at least the first half of it - there's nothing particularly exciting about it, let alone scary. Thankfully though, this sequel proves to have some tricks up its sleeve, as the second half is stronger, much more thrilling, and at times even frightening, mainly due to the appearance of The Station Master, who looks pretty creepy, indeed. Visually, "Ghosts of Georgia" looks much more polished than your average straight-to-DVD/VOD affair. The cinematography is rich in color and tone, and the camera work is decently diverse. The movie also delivers acting-wise, thanks to some very credible performances. Abigail Spencer and Morgana Shaw both do a solid job as the two sisters, the adorable Emily Alyn Lind is mostly fantastic as the little ghost whisperer, Heidi, and the hunky Chad Michael Murray is the only weak link.

Overall summary: It doesn't look bad at all, and the performances are adequate to say the least, but "The Haunting in Connecticut 2:Ghosts of Georgia" is every bit as generic and unoriginal as its silly title suggests, plus, in spite of a thrilling final act, it fails to avoid the cliches.

[5.00/10] The ABCs of Death (2013)

The ABCs of Death (2013)

Brief review: Shown at a numerous festivals last year, but officially set to be released in 2013, "The ABCs of Death" is a horror anthology, that consists of 26 shorts, each helmed by a different director, each of whom assigned a letter of the alphabet. "Apocalypse" is over-the-top gory fun. "Bigfoot" ain't about Bigfoot, and doesn't work. "Cycle" is confusing, but cool and well-conceived. Stylishly-shot in slow-mo, "Dogfight" is a man vs. dog fight, you have never seen before. "Exterminate" is badly-acted, and plain dumb. "Fart" stinks... literally. "Gravity" is overly short, and way too simple. "Hyrdo-Electric Diffusion" is Nazi torture fun, it's as simple as that. "Ingrown" is well-shot, intense, and one of the best segments, along with "Dogfight". "Jidai-geki" is a joke. "Klutz" is animation about crap, but it ain't crap at all. "Libido" is nasty and sick, yet genius. "Miscarriage" is uninteresting and simply unnecessary. "Nuptials" is hilarious, while the following "Orgasm" is artistically-shot, yet ultimately boring. "Pressure" is well-made and lives up to its title. "Quack" tries hard to be original, but falls short instead. "Removed" is gore-fueled, and nicely-executed. The best thing about "Speed" is that it ends quickly. The animated "Toilet" is superbly-crafted, gory, and somewhat shocking. "Unearthed" is pointless piece of sh*t. "Vagitus" is refreshing, but looks cheap. "WTF" is WTF, indeed. "XXL" is sheer brilliance. "Youngbuck" is sick, bloody, and stupid, and the closing "Zetsumetsu" is just a crazy Asian softcore porn.

Overall summary: Conceptually-genius, yet overambitious, "The ABCs of Death" has some strong and memorable segments, as well as some terrible ones, hence the end result is a mixed bag of utter lunacy, twisted imagination, ludicrousness, lots of gore and very few scares.

[7.50/10] American Mary (2012)

American Mary (2012)

Brief review: The Canadian twin sisters, Jen Soska and Sylvia Soska, take indie horror cinema to another level with their latest blood-soaked gem, "American Mary" - an unexpectedly brilliant feminist horror story of revenge, that also explores human's twisted mentality and the perverse desires of people obsessed with the idea of being unique, by turning themselves into monsters, literally. Soska sister's original script cleverly mixes visceral and psychological horror with unsettling sense of realism, outrageous gore and dark humor, and that well-balanced combination of elements leads to an impressive end result. Due to its sick, demented nature, "American Mary" may be a bit too bizarre and revolting for mass tastes, but those willing to see something different, will appreciate the film's bleak uniqueness. Soskas' latest isn't scary, and it's not meant to be, because the story is already shocking and grim enough, so the film doesn't need any additional gimmicks to give you the chills. Sure, being a surgeon horror, there's lots of blood, guts and cut-off body parts, but none of it is over-the-top or too in-your-face. "American Mary" does not look like a low-budget indie film. Soskas' stylish direction complements the film's gloomy tone, which is captured through the use of low lighting and gritty cinematography. It wouldn't be as effective, without Katharine Isabelle's disturbing, yet captivating portrayal of Mary - a gifted surgeon, who's also a sick-minded freak you don't wanna mess with at all.

Overall summary: More nasty than scary, cold, yet sleek in atmosphere and look, and definitely disturbing, "American Mary" is a superbly-crafted and highly original horror movie with feminist undertones, grim sense of humor and grotesque gore, that every genre fan should see.

[6.75/10] Mama (2013)

Mama (2013)

Brief review: Produced by the visionary director Guillermo del Toro, "Mama" is Andrés Muschietti's debut full-length feature, based on his own '08 short of the same name. The good news is, "Mama" is arguably the best January horror release since 2010's "Daybreakers", but the not so good news is, it doesn't break any new ground in terms of originality. Even though the plot can't really escape the ghost story cliches, the movie still succeeds in capturing the viewer's attention, due to the finely-written script, and the intriguing story that not only makes you constantly wonder who is Mama, and why is she so overprotective and evil, but also provides you with all the answers towards the end, leaving you satisfied and without any question marks in your head. Also, the half happy, half sad ending of the film is pretty emotional, and the perfect bittersweet conclusion to the story. "Mama" is frightening as well, and not in a cheap way. The solid scares are only a couple, but the suspense is consistent, the movie's eerie atmosphere is utterly effective, and Mama herself is creepy as hell. Sure, the editing is questionable, and that affects the overall pacing of the film, but Muschietti's accomplished direction, slick cinematography, and stylish color palette make up for that. Jessica "The Chameleon" Chastain does a phenomenal job in an untypical role that proves her versatility, but it's Megan Charpentier and Isabelle Nélisse that steal the show, with the latter being absolutely sensational.

Overall summary: Sinister, atmospheric, solidly-acted and technically-polished, yet slightly incoherent and not particularly original, "Mama" is an above average ghost story, that manages to deliver thrills, chills, high entertainment value as well as touching and effective climax.

[4.00/10] Texas Chainsaw 3D (2013)

Texas Chainsaw 3D (2013)

Brief review: Almost 40 years after the release of the original "Texas Chainsaw Massacre", and half a dozen remakes, sequels and prequels, director John Luessenhop brings yet another entry in the already tired franchise, that is more of a late sequel, rather than a proper reboot. Do we really need one? Not really. Since this film is not a reimagining of the original, and it tries to add new elements to the story in order to stand out from the other installments, thankfully "Texas Chainsaw 3D" does not necessarily feel like a 'cinematic deja vu', but on the other hand, that doesn't mean it succeeds in its attempts. The story still feels forced and often nonsensical, and the unsurprisingly hackneyed script is filled with overused slasher cliches. Also, the little twist in the end is ridiculously impausible, and doesn't help the movie either. In this one, one of the biggest horror icons, Leatherface, is not the grimly intimidating masked killer we remember, but a big, clumsy and dull guy, running around with his chainsaw turned on. "Texas Chainsaw" fails to keep you on your toes as well, for the fact that it is lacking in any sort of tension and suspense. Sure, the gore is there and very in-your-face, but the death scenes are crafted with zero imagination, or creativity. Alexandra Daddario saves it from being an utter disaster, by playing a likable protagonist, that exudes decency. However, the other characters are very stereotypical,  and act illogically most of the time, and that makes you want them dead.

Overall summary: Neither as scary as the original, nor as entertaining as the 2003 remake, "Texas Chainsaw 3D" attempts to freshen up the franchise with very little effort, hence, it ends up being a generic sequel, relying mostly on the gore, that has no actual reason to exist.

[3.25/10] Sadako 3D (2012)

Sadako 3D (2012)

Brief review: Do you remember Gore Verbinski's horror masterpiece "The Ring", and the equally as sinister original Japanese version it was based on, called "Ringu"? Well, Tsutomu Hanabusa's "Sadako 3D" is sort of a sequel to the latter, but sadly, an unnecessary and terrible one. Although it wears the title of "Ringu"'s central character, this film reveals absolutely nothing about the origin of Sadako - there's no back story, no proper explanation, nothing... just a dumb, heavily contrived plot that makes no sense at all, and tons of cheesy CGIs. It plays more like an "updated" version of "Ringu" rather than trying to be creative, and bring something new to the table. And no more TVs and VHSs, guys! Sadako is more contemporary now, and she comes out of LCD monitors, plasma screens and iPhones. Sure, over the last ten years, technology has developed tremendously, so this "update" is understandable, but the whole 'cursed video' story got lamer and way less effective. Having said that, the worst thing about "Sadako 3D" is not the flat storyline, or that the film is lacking in scares big time, but the fact that the creators dared to destroy arguable the creepiest character in history of horror, by taking away all of the skin-crawling creepiness out of Sadako, and presenting her as your average ghost seeking for revenge. Hanabusa's direction is amateurish at best, the cinematography is bland, and that combined with the lame, made-for-3D special effects gives the film a dull look.

Overall summary: Daft, contrived, sensationally un-scary, but above all completely unnecessary, "Sadako 3D" is J-horror at its worst, not only because of its ridiculously cheap execution, but mainly because it ruins one of the creepiest characters ever, and makes it look lame.

[5.75/10] The Barrens (2012)

The Barrens (2012)

QuickRating: After last year's truly disastrous "11-11-11", Darren Lynn Bousman's "The Barrens" is a step in the right direction. The lack of decent budget obviously reflects on some of the films production values such as cinematography, props and practical effects, but thankfully the director makes up for that with an appropriate forest setting and eerie atmosphere, and even though the film is far from terrifying, it blends psychological and visceral horror in an intriguing and unique way.

[4.50/10] House at the End of the Street (2012)

House at the End of the Street (2012)

QuickRating: The breakthrough star of 2012, Jennifer Lawrence, saves it from being a complete and utter failure, because she tries her best with the poorly-written character she has to play for cash, but "House at the End of the Street" is every bit as uninspired as its title suggests and has zero suspense, let alone decent scares, and that combined with the un-intriguing story, and ridiculously anti-climatic twist at the end, make it feel twice as long is it actually is.

[4.00/10] The Apparition (2012)

The Apparition (2012)

QuickRatings: Heavy on ominous sound effects, but light on scares, thrills and suspense, this may not be the worst horror movie you'll see this year, as it's pretty watchable for the most part, and even moderately entertaining on particular moments, but in the end, "The Apparition" fails to bring anything new to the table, although it constantly deceives its audience it will. Actually, the only good thing about it is the cool music score, which is creepier than the movie itself, and that says a lot.

[6.50/10] Grabbers (2012)

Grabbers (2012)

QuickRating: The idea of making a horror film about sea creatures allergic to alcohol-soaked human blood is clever enough in itself  to make it stand out, but when you add to that a witty, humorous script, likable, yet hilarious characters, an interesting, murky but beautiful Irish countryside scenery, spot-on CGI work, and an out-of-this-world sea monster, you get "Grabber". Well, it may be a bit too silly and pointless, and not particularly polished, but seriously, who cares really?

[4.75/10] Abraham Lincoln: Vampire Hunter (2012)

Abraham Lincoln: Vampire Hunter (2012)

QuickRating: It's hard to believe that the director of the awesome "Wanted" directed this misfire of a movie. "Abraham Lincoln: Vampire Hunter" attempts to blend historical facts with fiction, but fails to do so, and on the top of that, it takes itself ridiculously seriously. Even though, the action scenes are nicely-done and full of great stunts, and the vampires are rather cool-looking, the storytelling is rushed, and the script is completely humorless.

[4.50/10] Silent Hill: Revelation (2012)

Silent Hill: Revelation 3D (2012)

QuickRating: While the '06 original movie was like watching your worst nightmare, and had a strong creep factor, the CGI-laden "Silent Hill: Revelation" relies on its mostly unimpressive special effects and dark spaces to evoke sense of fear in the viewer, which doesn't really work. The truly sinister atmosphere is all gone, the creatures aren't that scary, the thrills are cheap, and Adelaide Clemens' trying-too-hard performance doesn't help either.

[8.00/10] Sinister (2012)

Sinister (2012)

Brief review: Aptly titled "Sinister", this is "The Exorcism of Emily Rose" director Scott Derrickson's latest movie, about a true-crime writer, who comes across some weird clues, while writing his new book. To call "Sinister" a proper horror movie would be fair, because its succeeds on pretty much every single level. The writers has put so much thought into the script, successfully balancing murder mystery, true-crime drama and heavy supernatural elements, with sense of style and sophistication, and even though the plot itself seems familiar at first, the end result is a gripping and intriguing fright-fest, destined to become a horror classic. In terms of atmosphere and scares, "Sinister" certainly lives up to its title, and then some. Delivering everything from jump-of-your-seat boo scares and ghastly images to nail-biting tension and edgy suspense, "Sinister" is one of those horror movies, that quickly gets deep under your skin and stays there long after the credits roll. The film's intentionally gloomy look, ominous setting, and effective music score also add to the eeriness factor, not to mention the creepy-as-hell Mr. Boogie / Bughuul, who will surely come to haunt you in your dreams. Ethan Hawke gives a spot-on comeback performance, brilliantly portraying one of the most memorable male protagonists in recent 'horror' history. The supporting cast does a solid job as well, complementing Hawke's character so perfectly.

Overall summary: Atmospheric, superbly-conceived, and compellingly mysterious, "Sinister" is every bit as creepy as its title suggests, and also one of the best horror movies of 2012, as it manages to deliver genuine scares and tons of suspense, without having any major flaws.

[6.75/10] The Bay (2012)

The Bay (2012)

Brief review: Barry Levinson continues to demonstrate his undeniable versatility as a director, showing yet another side of him with ecological horror thriller, "The Bay". While hardly groundbreaking, and slightly uneven, this film is nevertheless conceptually refreshing in terms of both premise and execution. It's cleverly-conceived and successfully blends eco-disaster with foreboding plague and flesh-eating parasites, with the end result being a constant creep-fest, that also hides an important environmental message. The best thing about "The Bay" is the fact that, as paradoxical as it may sound, the movie manages to be forbidding without being actually scary. Even though it's full of gross-out moments of gruesome gore and rotten flesh, it intentionally avoids cheap scares, and relies more on tension and shock value to send a chill down your spine, plus, it's disturbingly believable. Luckily, "The Bay" is more of a mockumentary rather than your common 'found footage' flick, and that definitely works in its favor. Levinson takes the POV shooting style to a whole new level, using an admirable variety of filming techniques and many different type of cameras, such as webcams, car cams, TV cameras, security cameras, and of course hand-held cameras, which are typical for the sub-genre. Thus, he not only showcases his abilities and inventiveness, but also provides the viewer with visual diversity.

Overall summary: It's far from terrifying, and it suffers from quite a few pacing issues, hence, it feels rather incoherent, but thanks to its clever approach at mockumentary horror, "The Bay" still manages to succeed in various areas, and is guaranteed to make your skin crawl.

This review is also featured on TVFilmNews.com

[7.00/10] Citadel (2012)

Citadel (2012)

Brief review: After five shorts, UK director Ciaran Foy finally brings us his first feature film, about a recently widowed agoraphobic young father, who tries to protect his baby daughter from a gang of cranky, evil kids. "Citadel" is hardly a crowd-pleaser, lacks cohesion, and has more than a few pacing issues, but these weaknesses are nothing, compared to the strengths it possesses. Being suffering from agoraphobia himself, the director puts a personal touch here, making both the bizarrely engaging story and characters easier to relate to. There's something inexplicably frightening about "Citadel", as it has that nagging sense of dread and unease, that makes you uncomfortable, but in a good way. The scares ain't cheap or in-your-face, and there's plenty of nail-biting suspense and sinister imagery. In typical British fashion, "Citadel" is quite bleak in feel and look, even depressingly moody at times, but that only adds to the grim nature of the story. Foy easily maintains the eerie atmosphere throughout, with the final act being the absolute highlight of the movie, not only because it takes place in one of the creepiest settings ever put on film, namely a dark and grim tower block, that will surely give you the chills, but also because the level of intensity is sky high. Aneurin Barnard does an amazing job with a difficult role, carrying the entire movie on his shoulders, and the supporting cast complements him perfectly.

Overall summary: It's slightly muddled, and its inconsistent pacing may put some viewers off, but Foy's unique and very personal little chiller, "Citadel", more than makes up for these faults with originality, spot-on performances, plenty of effective scares, and spooky visuals.

This review is also featured on TVFilmNews.com

[3.00/10] Wrong Turn 5: Bloodlines (2012)

Wrong Turn 5: Bloodlines (2012)

Brief review: 5? Seriously? Let's all hope it's the last, because this franchise really got milked to death. Yes, the original was great gory fun and turned into some sort of modern horror classic, and the first sequel was a passable entertainment as well, but the next three installments, including this one, were just plain awful and rather unnecessary. "Wrong Turn 5: Bloodlines" is every bit as terrible as 2009's entry, "Wrong Turn 3: Left for Dead", and not at all worth-seeing, unless you are a die-hard gore freak. Pretty much everything about this stupid sequel is wrong, from the wildly unimaginative script, shallow dialogues and stereotypical characters, to the hideous direction, laughably bad make-up effects and below par execution. Moreover, it would be a complete waste of time to mention anything about the storyline, simply because such is lacking. To be able to create a decent plot for a horror movie, you need some fresh ideas, tiny bit of imagination and some inspiration, but obviously director Declan O'Brien didn't think of that, as he delivered arguably the most dull, generic and lazy sequel in the series. No need to mention that such important factors as scares and suspense are completely non-existent, but at least the kill scenes aren't that terrible. Yes, the gore looks quite fake, but there's loads of it, and the deaths are fairly well-executed, and gross enough to please most blood-lusty horror buffs out there.

Overall summary: A couple of cool, yet repulsively gory death scenes aside, "Wrong Turn 5: Bloodlines" is yet another unnecessary entry in the already drained franchise, with no plot, zero scares, cheap make-up effects, awful execution, and dumb, poorly-acted characters.

This review is also featured on TVFilmNews.com

[6.50/10] Excision (2012)

Excision (2012)

Brief review: Brought by first-time feature direction Richard Bates Jr., and  based on his own 2008 short movie of the same name, "Excision" is a coming-of-age horror drama, with some fine touches of dark humor, in the same vein as Lucky McKee's horror gem "May", and driven by its central character Pauline - a teen girl with morbid, yet vivid imagination, and twisted sexual desires. "Excision" is one of those horror movies, that avoids obvious scares, but still manages to be shocking and disturbing, thanks to the well-thought-out script that take us on a mental journey to one sick girl's mind. It also delivers on the gore and gross out horror, but in a very artsy sort of way. Considering the tiny budget it was made on, "Excision" looks quite aesthetically pleasing to the eye, however, Richard Bates Jr.'s direction is nothing-to-write-home-about really, which on the other hand isn't much of an issue, because "Excision" is all about the characters. "Nip/Tuck"'s own, the stunning AnnaLynne McCord, is barely recognizable as the freaky misfit, Pauline. She demonstrates a surprising amount of acting talent, and fully dominates the screen with her oddly captivating performance. Traci Lords is engagingly over-the-top as the controlling mother two, and the supporting cast does a solid job as well. The ending is gut-wrenchingly genius, if a bit predictable, and the true 'cherry on top' of Bates Jr.'s weird, yet unsettling piece of work.

Overall summary: It certainly won't be everyone's cup of tea, but those seeking for something different, odd, bizarre, unusual and, well, sick, will remain deeply satisfied with Richard Bates Jr.'s nasty little horror movie, "Excision", as it delivers all of that in spades, and then some.

This review is also featured on TVFilmNews.com

[6.00/10] The Lost Coast Tapes (2012)

The Lost Coast Tapes (2012)

Brief review: The 'found footage' horror sub-genre had its ups and downs over the years, with a few truly memorable entries, and countless dreadful ones. Corey Grant's Bigfoot-inspired POV flick, "The Lost Coast Tapes", falls somewhere in between. Clearly and heavily influenced by 2010's Norwegian mock-doc sensation "Trollhunter", "The Lost Coast Tapes" starts out in a very familiar fashion, and there's nothing special about it at first, but the seemingly gimmicky plot becomes more and more absorbing as the movie progresses. There's definitely something about "The Lost Coast Tapes" that keeps you drawn into the story from start to finish, and that is investing the unknown and unexplained, along with the characters, which turns out something even more unexpected. There are no big scares, but last 20 minutes of the movie are incredibly intense, and even though the twist ending leaves many questions unanswered, more perspicacious viewers will figure it out. Set in North California,"The Lost Coast Tapes" offers some stunning scenery - immense woods and lofty trees that look glorious in the daytime, and yet spine-chillingly eerie during the night. The POV shooting style requires the movie to be shot with handy-cams, but thankfully the camera work is neat and not overly shaky. Also, the characters here are likable, smart, and well-acted by the actors involved, so the audience can very easily relate to them. 

Overall summary: It's no "Trollhunter", but Corey Grant's "Bigfoot: The Lost Coast Tapes" is still a refreshing entry into the 'found footage' horror sub-genre, that intrigues with its concept, excites with its intensity, and engages the eye with its gorgeous, yet terrifying setting.

This review is also featured on TVFilmNews.com

[3.75/10] Smiley (2012)

Smiley (2012)

Brief review: From 23-year-old director, Michael J. Gallagher, "Smiley" is yet another poor attempt at slasher - a bold take on a modern urban legend, that doesn't really work. Even from the daft premise and the ridiculous opening sequence, you could tell that "Smiley" is going to be one silly slasher film filled with hackneyed cliches, and it turns out exactly that. Simply imagine Wes Craven's hit "Scream" meets Bernard Rose's "Candyman" with a contemporary twist, and little to no imagination put into the story, and you get "Smiley". The movie shamelessly rips-off the above mention horror classics, which makes it and its director even more pathetic. The young director obviously "did it for the lulz" (as the most popular line in the movie says), because pretty much everything about this movie is ludicrous to the point of being laughable. Worst of all, the suspense and thrills in "Smiley" are nonexistent. The only 'scary stuff' this flick provides its thrill-seeking audience with, is predictable behind-your-back killer attacks, and quick deaths with too little blood. Smiley itself is creepy-looking enough, but his dullness won't let him turn into a horror legend. The technical aspects of the film are also below par. It has a cheap TV feel to it, due to Gallagher's lifeless direction and low production values. On a positive note, Caitlin Gerard delivers a genuine lead performance, despite the awful script she has to work with.

Overall summary: Unaware of its utter stupidity, "Smiley" confidently attempts to introduces us a new slasher icon (wannabe), but actually ends up being yet another generic teen horror with silly premise, copycat ideas, no thrills, and a killer that is very soon to be forgotten.

This review is also featured on TVFilmNews.com

[5.00/10] Grave Encounters 2 (2012)

Grave Encounters 2 (2012)

Brief review: After 2011's "Grave Encounters", The Vicious Brothers join forces with first-time director John Poliquin to deliver a sequel, that complements the original. Or does it? Sadly, Poliquin fails to take things to another level due to his and his writer's lack of creativity, as "Grave Encounters 2" rests entirely on the concept, plot and setting of first film, and therefore feels contrived and, ironically, uninspired. Furthermore, both the filmmakers and the obsessed protagonist try hard to constantly convince us, that the first film is actually a real footage, but that never seems to work. Since the action takes place in the exact same location as the original, it often feels like you're watching the same movie, but on the other hand, the eerily abandoned psychiatric hospital continues to be one of the most terrifying places ever put on film. The movie is filled with jump scares and sudden shocks, and though cheap, those are fairly effective. It also offers loads of ghastly (and ghostly) images that might give you nightmares, and even dares to rip-off the creature from "[REC]" to a certain extent. The director demonstrates different variety of camera techniques, such as shaky handy-cam, black-and-white hidden cameras, static security cameras, etc, and that versatility prevents the viewer from getting bored by the very limited POV shooting style. The acting is pretty forgettable, with Richard Harmon taking most of the screen time.

Overall summary: The setting is still creepy, and the scares work for the most part, but "Grave Encounters 2" feels too familiar and repetitive, and relies too much on the success of its predecessor, plus, it's further let down by its messy, boring and often nonsensical third act.

This review is also featured on TVFilmNews.com