Michael Bay is destroying horror films by exhuming the genre's standard-bearers, stripping them of genuine terror and conceptual earnest, refusing to either re-create faithfully or reimagine boldly, and upping the irony until the original concept stands rigid like a taxidermied grizzly, its teeth bared and glistening but its presence inanimate, unthreatening and, most of all, sad.
Based on a grim story by renowned horror author Clive Barker (Hellraiser), "The Midnight Meat Train" tells the story of Leon Kaufmman (Bradley Cooper), an aspiring photographer, who delves into the underbelly of New York City, hoping to capture its true colors with his black-and-white camera.
The latest true story adaptation "Dorothy" about a girl with the blessed curse of reliving other people's deaths is surprisingly straight-forward in a genre that demands plot twists at every turn.
With a history of being construed by viewers as a horror film, brandishing random psychosis as its weapon of choice, Austrian director Michael Haneke has revived his original 1997 film for a mainstream taste-test in what may be yet one more "Funny Game" to read the popular culture interpretations of this sadistic European thriller.
Bryan Bertino's debut has taken a chilling true story-rendition and chisled out a nail-biting tale of random terror and slaughter.
If you have an ax to grind with someone who harbors a morbid fear of surgery, you couldn't design a better revenge than taking them to see "Awake."
In the preposterous, ripped-off-from-another-hit-Asian-thriller "The Eye," a blind concert violinist has an eye operation and starts seeing all sorts of things she never signed on for.
As American horror has devolved into a butcher's market, where the hacking, lopping and chopping of captives has become the central purpose, the genre has forgotten to care about the people doing all the screaming -- the "us" in the movie.
The horror flick "White Noise: The Light" failed to send chills down my spine, but it did succeed in tickling my funny bone. Between its cheesy visual effects, jaw-droppingly bad dialogue, and bombastic talk of near-death experiences, precognition and "electronic voice phenomena," or EVP to those in the know, I couldn't stop chuckling to myself.
The first hour of the Brazilian-themed slasher flick "Turistas" looks like a slick, well-produced travelogue. But, after more than the usual amount of set-up, the picture reverts to Hollywood form with the introduction of a mad surgeon in a tedious twist that sends packing any hope of a few days rest and relaxation in the sun.