Lots of directors have taken inspiration from the great James Cameron and his many iconic films. Add first timer Steven Gomez to that list as his debut, Kill Command, is one part Terminator and one part Aliens--and to change things up a bit, maybe a dash of Robocop on top. However, the eager filmmaker seems to have been caught in an endless code of homage and forgot to program in some innovation along the way. 

Slead Score: A-

"I'll see you again in 25 years." - Laura Palmer.

Added to the handful of films that can truly claim the right to being the forbearer of an entire subgenre, Robert Aldrich’s What Ever Happened to Baby Jane? is an equally riotous and chilling portrait of jealously and vanity. While some debate as to whether Sunset Blvd. or Baby J incited Grande Dame Guignol cinema (or, more fondly known as hag horror), audiences should enjoy seeing glamorous actresses of yesteryear get down-and-dirty with Mean Girls-level spiteful digs that feel uncomfortably horrific and humorous.

 Charlie Sheen and Sherilyn Fenn in The Wraith

If you’re unfamiliar with 1986’s The Wraith, perhaps the best way to explain it is using a different film, one which would be released nearly a decade later. The Wraith follows a similar narrative trajectory as The Crow in that both films are about a man who returns from the grave to avenge his death at the hands of a violent gang, picking them off one-by-one.

Countless movies since Steven Spielberg's shark masterpiece came out tried to use the tag "Jaws, but with [Insert Predator Here]." In the case of Lee Tamahori's 1997 bear attack/survival thriller the tagline seemed more qualified than most--the DVD box art boasts a catchy spin on the aforementioned sentiment, "Jaws with claws." Tamahori's film is of course not genre darling that Jaws remains to this day, but The Edge holds up well thanks to some dynamic performances from Anthony Hopkins and Alec Baldwin. 

Polish language film The Lure is most likely the strangest mermaid flick to hit the states, and yes, "mermaid" is really what lures the audience in. Originally titled Córki dancingu, the film is truly an evocative and original take on the monster genre, with its larger-than-life sensibilities and unrelenting approach to how musicals flow. Sadly, this horror musical never fully adopts its own genre, instead opting for scattered ideas that make certain scenes work, while a majority of the connective tissue is washed up.

Samara emerges from a TV in Rings

The present day setting of Rings, the 2017 re-launch of the long-dormant Ring franchise, means big changes for Samara, the ghost child who spreads a fatal curse via VHS tapes. Unless she adapts her increasingly dated tactics, she’ll have to content herself with preying on a shrinking food chain of VCR users. Mostly she’ll be crawling out of the televisions of grandparents, patrons of poorly-funded local libraries, and horror reviewers.

Blade is one of those movies that was a little too influential for its own good.  It was the first time a they got Marvel superhero right on film. It pioneered the horror action genre that would spawn endless Resident Evil and Underworld sequels and ripoffs.  It was rocking the trenchcoat and sunglasses kung-fu style a year before the Matrix.

Spookies Review

Long gone are the days when horror fans could peruse the aisles of the local video store and make a selection based solely on a sweet VHS cover. Sometimes a hidden gem was discovered, and, sometimes the old adage about not judging covers held true; the art on the box was often the best thing about the flicks that haunted the rental racks. Spookies has a nice poster/cover and has garnered somewhat of a cult following over the last thirty years, but is that following warranted?

When one watches an older, classic horror film, it can sometimes be necessary to alter our expectations and frame of reference. The special effects may not be up to muster, the delicate sensibilities of its day may seem tame to modern audiences. The mark of a truly transcendent horror film is often apparent in how little the viewer needs to change their perspective to enjoy it. George Romero’s Night of the Living Dead is certainly such a film.