A movie revolving around a small, secluded town where Stephen King hides away from the world sounds promising. The focus around King and his influence on the town could bring about some interesting commentary or parallels to some of his best works like "Misery", "Under the Dome" or "It".
Mix zombies, a Mad Max style road thriller, telekinetic powers, and campy action and Wyrmwood is born. Wyrmwood (Road of the Dead) is a zombie flick that takes cues from its predecessors while incorporating new approaches to the undead sub genre. It's over the top and not afraid to go for the unexpected which comes with a mixed result.
Apocalyptic stories have been around for decades, or even centuries technically, with references to the end of days in religious manuscripts. When it comes to film and television, focusing a plot around the impending end of the world is one that has been done several times over to the point that there may be nothing new to bring to the table. However, director and writer Zak Hilditch decided to bring his own spin on the apocalypse trope with his film These Final Hours.
Horror films tend to go through trends of following what brings audiences to the seats. The rise and fall of slashers, home invasion, the "turture porn" craze with Saw, and more recently the possession/devil themed films have had their hay day in theaters. Combining these sub genres has been an effective strategy in the past as well with films like Scream combining horror and comedy. Adding too many different aesthetics can be a messy concoction, and 2015's The Lazarus Effect is the perfect example.
The study of dreams and nightmares continues to be a deep well of new discovery. What exactly conjures those scattered moments in the mind to play during sleep? How can the visions seen in these dreams and nightmares effect the sleeper? These questions lining the walls of sleep analysis have been approached scientifically as well as spiritually. The 2008 documentary The Nightmare by Andrew Gray seeks to answer some of these lingering questions.
B-horror films have always lived on the line between good and bad, giving viewers the opportunity for a new camp classic to be born. They're not offensive because they don't take themselves too seriously, which can be exactly what the doctor ordered. WolfCop from director Lowell Dean sets out to create a romping good time with the monster genre, and ultimately delivers on its promise. While not being anything ground breaking or new, the movie manages to take moments from the werewolf films of old and put fun twists on them.
Sometimes trying to reinvent a genre can be a daunting and seemingly pointless task. When it comes to slasher films, there have been countless attempts to reapproach the "Ten Little Indians" type set up with an unknown killer waiting in the wings to pick them off one by one. Despite most of the films being copycats and cash grabs, there have been a handful that don't attempt to reinvent but still leave a positive impact on viewers.
Body horror films are a dime a dozen nowadays. However, there was a time when they were highly sought after, mainly due to the love for David Cronenberg and his unrelenting ability to mix decay of the flesh with political and social commentary. His films captured iconic and terrible imagery, but the message hiding underneath the layers of skin made the experience feel worth the watch and multiple viewings. Stripping away that creative mind to leave a film solely focused around showing literal brains leaves an experience that can be hard to sit through.
To put it simply, The Boy Next Door is a bad movie with a heart of gold. When a film can straddle that line of "this is garbage" and "I need to tell all of my friends" then it's a winner. That line is where the campy classics are born for film lovers. Rob Cohen's latest film falls squarely into that wooded forest of special films with its goofy line deliveries, over the top thriller sequences, and underlying mythological parallels.
A monster flick directed by the writer of X-Men and Watchmen? The promise of a complex, fun, and fresh werewolf story? A focus on practical effects against the use of excessive CGI? What could go wrong? Apparently, plenty. David Hayter's latest directing project, Wolves, sets up all of the aforementioned aspects, but quickly reveals them to be false. The film does involve werewolves, as promised, but they are layered under digital effects within a plot full of obvious yet somehow confusing plot points.