Shot on a shoestring with cheap video cameras and unknown actors, "The Blair Witch Project" established the "found-footage" sub-genre, redefining horror and breathing new life into indie filmmaking.
He's not a trained actor, but Turkish businessman Serdar Ali Abet hopes his television debut -- and a mix of cliff-hangers, melodrama and lavish sets -- can win fans across the Arab world and help revive Turkey's moribund tourist industry.
The horror sequel is a tough thing to pull off in general The Conjuring 2' is most certainly one of the better efforts
If "The Conjuring" was a chilling whisper, the sequel is a deafening shriek. That might not be a bad thing for some, but the shock jumps and cheesy-looking demons in "The Conjuring 2" were a definite departure from the first, and not necessarily for the better.
Hollywood is often accused of "eating itself" -- forever recycling its back catalog with endless remakes and sequels.
Rated "R" with no nudity, sex or profanity, "The Conjuring" is labeled with this warning as it may just be too terrifying for younger audiences. Set in a backwoods fixer-upper that is scary enough from a homeowner's point of view, this film is a frightfest of nail-biting terror waiting around every corner -- on top of the wardrobe, behind the door, and yes, in the boarded-up basement.
A brother, his girlfriend, his sister and two friends all meet in a derelict cabin in the woods. It is a beautiful place. Rustic and isolated. The perfect location for the sister to kick her drug habit. They struggle as she trembles under the withdrawal. Then the devil arrives.
A playful, elegantly made little horror film,"Mama" teasingly sustains a game of hide-and-seek as it tantalizes the audience with fleeting apparitions of the title character while maintaining interest in two deeply disturbed little orphan girls.
If you are in the mood for a demonic possession/Jewish exorcism movie this year, "The Possession" may be the one for you. Swap the clerical collars for a yarmulke, change the sacred incantations from Latin to Hebrew, leave out the pea soup and you've got a passable PG-13 version of "The Exorcist," the granddaddy of all exorcism movies.
"Red Lights" culminates with a twist ending that doesn't just change everything that came previously, it actually negates the entirety of the film. Rather than leaving you in an awe-struck state of "A-ha!" it's more likely to make you wonder in annoyance, "Really?"
Nothing could possibly satisfy the fervent expectation that has built for Ridley Scott's sort-of-prequel to his genre-defining "Alien," but "Prometheus," the director's return to science fiction for the first time in more than 30 years, comes close.1 Comment