FACES OF DEATH (2026)

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Directed By: Daniel Goldhaber

Written By: Daniel Goldhaber and Isa Mazzei 

Cinematography: Issac Bauman 

Editor: Taylor Levy 

Cast: Barbie Ferreira, Dacre Montgomery, Jermaine Fowler, Josie Totah, Aaron Holliday. Charli Xcx, Kurt Yue, Ash Maeda 

Margot Romero, a content moderator haunted by a viral tragedy, must track down a sadistic filmmaker who recreates legendary snuff cinema to silence the internet’s obsession with her own past trauma.

This was a film that I expected to be a bit more racy, confrontational and controversial, considering the source material. I thought it would be a bit more disgusting though really other than some notorious clips from the Internet that are ported to have been real the rest of the place pretty basic or what you might expect even actually a bit more disappointing.

As they have to include a story to make a narrative here but even that while it has something to say about social media, it feels a little late even though this film was supposed to come out in 2024 and was finally released in 2026 it still feels like it’s trying to say something that maybe most of the audience already knows about being addicted to the thrill and being desensitized by violence that we want more extreme more gore as a kind of rush.

Though at times certain seems like an unnecessarily quick sex scene in a hallway just seem to be there either as a bad tasteless joke, or an early warning sign of trying to show how badly this film wants to be rebellious and naughty, unfortunately, throughout the rest of the film that just isn’t there

The stunt casting of Charli XCX in this film amounts to nothing she does well in the small role that she’s given, but really doesn’t have that much to do. There aren’t as many killings in this film as one might expect and it just seems that at certain points, all logic is thrown out the window, especially in the leader scenes when Barbie for our manages to escape.

As everything after that pretty much makes no sense though the lead character at times makes no sense. Either her actions that feel really there only because the script says after telling her we’re training her coworkers oh, don’t get involved in any cases off-line. She immediately breaks that code very easily, and it doesn’t seem like it was really hard to convince her to do this, even though any opening of the film it tried to set her up as stern and orderly, but with a secret in our past.

Barbie Ferrara is OK in a lead role. I don’t think she’s the problem with the film. I think it’s the script and the material she’s given because seeing her and other films it’s obvious she is a good actress, but it would’ve been hard for anyone to make this character and script work fully and be believable and root for the character.

Also, the special effects for this film are a little lame there seems to be this big lead up that kind of hype the scenes up, but then nothing comes from the recreations of scenes from FACES OF DEATH, Here in the film look super fake and especially when they show victims bodies after the killings, you can tell that they are either mannequins or dummies so that it just looks so unrealistic that it kind of takes you out of the film especially for a film that seems well funded

One isn’t expecting a classic, but I thought it would be a little more stronger and inspired rather than what we get which feels basic and a little uninspired. I really wanted this phone to be decent and good especially from somebody who still is a bit uncomfortable trying to watch faces of death from 1983 the controversial video cassette or any of it sequel as any violence that is a bit too realistic makes me not want to watch the rest of the film. If it looks too real or too-plausible, it’s sickens me, and I don’t find that as entertainment

It’s really disappointing that the director Daniel Goldhaber who made the memorable drama HOW TO BLOW UP A PIPELINE is the director behind this and how unrealistic this film feels compared, especially to a previous film. When would think who made something much more stronger and original. as this feels like maybe the title was thought of first and they figured they’d fill in the rest later and this is the best that they could come up with as even when it tries to be Meta it doesn’t exactly work. Unfortunately, this is also a film. One would never call clever.

Grade: C-

ALPHA (2025)

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Written & Directed by: Julia Ducournau

Cinematography: Ruben Impens 

Editor: Jean-Christophe Bouzy 

Cast: Melissa Boros, Golshifteh Farahani, Tahar Rahim, Emma Mackey, Louai El Amrousy 

In a French city grappling with an unnamed viral epidemic, 13-year-old Alpha, the daughter of an immigrant doctor, confronts a challenging coming-of-age journey. Her mother, a frontline healthcare worker, is horrified when Alpha allows her classmate and love interest, Adrien, to tattoo her with a shared needle at a party. The resulting bleeding turns Alpha into a social pariah at school, igniting heightened fears of blood contamination among her peers. However, things take a dark turn when Uncle Amin, a person with a chronic substance use disorder, moves back into the family home. This unexpected reunion forces Alpha to share a room with him, further complicating her already strained life.

Alot of people came away from Alpha feeling underwhelmed, calling it just okay, or even a disappointment,but against all odds, I really liked it.

In some ways, it’s overdone. It leans heavily into melodrama, and at times it feels almost overwhelming on purpose, But somehow, that worked on me. I was mesmerized by it, by the mood, the discovery, and the way it slowly reveals itself. Even when I had a sense of where it was going, it kept me interested.

This won’t be for everyone. It’s slower, more emotional, and much more introspective than many might expect. Especially from writer-director Julia Ducournau. If you’re looking for the shock or body-horror intensity of RAW or TITANE may feel restrained by comparison. But that restraint is part of what makes it fascinating.

The visuals are still unmistakably hers, sharp, beautiful, occasionally surreal, but they never feel flashy just for the sake of it. They serve the emotion. The film’s central allegory, with its mysterious virus that slowly turns people into marble statues that bleed sand, is an obvious but powerful reflection on illness, grief, and specifically the AIDS crisis.

This isn’t really a genre film, so much as a drama dressed in genre clothing. It’s less interested in shocking you than in sitting with discomfort, fragility, and loss. It may not always know exactly what it wants to say, but it remains compelling as a study of its themes and characters.

And yes, maybe it goes a little too far with the melodrama, perhaps to compensate for a story that feels thinner than its ideas. But even then, it never lost me.

To show how far, she has gone from her usual. The film doesn’t even have actress Garance Marillier who is. Usually in all of her work so far 

It’s not my favorite film from Julia Ducournau, but it might be her most personal. And sometimes a film doesn’t need to be perfect to leave an impression. it just needs to feel singular. This film certainly does

Grade: A

DUST BUNNY (2025)

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Written & Directed By: Bryan Fuller

Cinematography: Nicole Hirsch Whitaker 

Editor: Lisa Lassek

Cast: Mads Mikkelsen, Sophie Sloan, Sigourney Weaver, Sheila Atim, David Dastmalchan, Rebecca Henderson, Lina Kruse, Caspar Phillipson

A dark fairy tale that is quite enchanting, but feels like it has a missing Ingredient to truly sparkle. Though it certainly shines. 

Shot in the aspect ratio Of 3.00:1 which makes the film visually claustrophobic 

This is writer-director  Bryan fuller’s theatrical directorial debut film. One will admit to being a fan of his previous television work HANNIBAL, WONDERFALLS and PUSHING DAISIES 

Especially as one respects his work. Was really wanted to love this film, but can’t say that I did. There was plenty to like. Though can’t say the film is a slam dunk. Can see why some really like it. Though it’s Magic didn’t completely work for me. There might have been too much whimsy. 

This film is certainly imaginative seems more for adults but seems like it would greatly appeal to children just with it’s colors, beauty and creativity.

Told mostly from a child’s point of view. So while there is some adult material. It stays clean and never is vulgar. 

Every detail meticulous especially by design to fit an be awe inspiring truly building it’s own universe and deeply immersive 

Casting his MVP Mads Mikkelsen as his lead here. After having him previously play Dr. Hannibal Lector in HANNIBAL the television series 

Mr. Mikkelsen on this role is memorable and quite flexible, though never imposing Though it does remind one of his previous performance as an assassin in the 2019 action film POLAR. Only here to much better effect and material.

Even like the private joke of the chicken lamp that references one of Mikkelsen’s previous film MEN & CHICKEN 

It keeps Layering the story with reveals but it also seem to stop and start where it gets exciting and then drags and feels like it’s stretching out it’s

Time. So that the film stays fascinating but feels like it is working against itself as it wants to be episodic yet must be cohesive and take care of itself. 

Stylistically inventive with a hint of the past and classic with modern age edge. It has a throwback quality, though more flash then Cartoonish though in the best way. This film will certainly have items fans and is worth looking into.

Grade: C+

THIS IS NOT A TEST (2026)

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Written, Directed & Produced By: Adam MacDonald

Based on the book By: Courtney Summers

Cinematography: Christian Bielz

Editor: Pamela Bayne

Cast: Olivia Holt, Froy Gutierrez, Corteon Moore, Carson McCormac, Chloe Avakian, Luke Macfarlane, Joelle Farrow, Krista Bridges, Jeff Roop

Follows Sloane and four other students who take shelter in their high school during a zombie outbreak.

Based on the young adult novel, THIS IS NOT A TEST feels like the kind of adaptation that probably trims away much of what made the book worth reading. I haven’t read the novel, but I’d wager there’s more room there for the characters to breathe than this film ever gives them.

Instead, it settles into familiar zombie movie territory. Imagine THE WALKING DEAD aimed at a younger audience, only with the occasional surprising moment, yes, including one scene I genuinely didn’t expect. Unfortunately, surprises are in short supply everywhere else. You’ll likely figure out who’s making it to the end long before the characters do.

The frustrating part is that the movie constantly hints at becoming something better. It sets up interesting situations, builds a little tension, then repeatedly backs away just as things are about to get exciting. There are plenty of opportunities to push the horror, the suspense, or even the emotional drama further, but it almost always chooses the safest route.

To its credit, the film isn’t bad. It’s competently made, moves at a brisk pace, and wisely doesn’t overstay its welcome. The cast is believable, likable, and does the best they can with material that rarely challenges them. The movie’s heart is clearly in the relationships and emotional survival rather than nonstop zombie mayhem, and some viewers will appreciate that approach.

If you’re newer to zombie films or horror in general, there’s a good chance you’ll enjoy this more than I did. There’s enough action and tension to stay engaged, and it never completely loses its footing. For longtime fans of the genre, though, there’s very little here that feels fresh or memorable.

In the end, THIS IS NOT A TEST  isn’t a disaster. it just never becomes the movie it keeps teasing. It’s respectable, watchable, and occasionally effective, but it ultimately feels less like a finished statement and more like an early draft that needed one more rewrite.

Grade: C 

EVIL DEAD BURN (2026)

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Directed By: Sebastien Vanicek

Written By: Sebastian Vanicek and Florent Bernard 

Cinematography: Philip Lozano 

Editor: Maxine Caro

Cast: Souhelia Yocoub, Hunter Doohan, Lucinae Buchanan, Erroll Shand, Tandi Wright, Maude Davey, George Pullar, Greta Van Den Brink 

After the loss of her husband, a woman seeks solace with her in-laws. As one by one they transform into deadites, she comes to discover that the vows she took in life – survive even in death.

I watched this in 4DX, and what a ride. It definitely added to the experience. You don’t just watch the movie. you feel like you’re trapped inside it. The seats throw you around so much that by the end you feel as beaten up as one of the Deadites. If there was ever a movie made for 4DX, this is probably it.

As an addition to the EVIL DEAD franchise, it’s a solid one.

What’s always been interesting about EVIL DEAD is that every era has its own personality. Sam Raimi’s films were horror, but they were also goofy, funny, and wildly inventive. The newer films have taken a very different path. They’re less interested in laughs and much more focused on brutal endurance. The gore is nastier, the violence is crueler, and the scares rarely let up. It still feels like EVIL DEAD, but it’s evolved into something much darker for a new generation.

The franchise has also shifted from following a lone hero to centering on survivors and final girls, with each story built around family trauma, buried emotions, and painful secrets.

This time, the horror comes wrapped inside a family gathering where the in-laws may be carrying more baggage than anyone expected. What starts as awkward family dynamics slowly turns into something much worse, as old tensions, resentments, and dark secrets erupt in the bloodiest way imaginable. It’s a fun twist on the usual family drama, your relatives might actually be cursed.

I have to admit, I preferred the previous film a little more. It established this new direction and felt fresher and more personal. EVIL DEAD BURN has stylish direction, especially during a couple of standout sequences that are visually unforgettable, but overall it feels more like a continuation than a reinvention. It’s bigger, bloodier, and slicker, but it doesn’t hit quite as hard emotionally.

At times, it almost feels like a French Extremity horror film that just happens to exist in the EVIL DEAD universe. For some viewers, that relentless brutality will be thrilling. For others, it may start to feel more like an endurance test that brushes up against torture-porn territory.

The good news is that this entry brings back a little more humor than Evil Dead Rise. It’s still incredibly dark, but those twisted moments of comedy help balance out the nonstop carnage.

For all of its memorable kills, shocking set pieces, and energetic direction, I also walked away feeling like it was a little disposable. I had a good time. I liked it. I just didn’t love it the way I was hoping to.

Grade: B-

LEE CRONIN’S THE MUMMY (2026)

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Written & Directed By: Lee Cronin

Cinematography: Dave Garbett 

Editor: Bryan Shaw 

Cast: Jack Reynor, Laia Costa, May Calamawy, Natalie Grace, Shylo Molina, Billie Roy, Veronica Falcon, Havet Kamille, May Eighety 

Eight years after her sudden disappearance in Egypt, a severely traumatized teenager is returned to her shattered family in New Mexico, triggering a visceral nightmare as they realize she is hosting an ancient, demonic parasite.

A mummy movie by way of the Evil Dead 

No matter what I have to say about this film, I can appreciate that Lee Cronin didn’t simply remake the Brendan Fraser version. Instead of another action-adventure, he tries to bring The Mummy back into the horror genre. That’s an idea I genuinely admire.

The problem is that it often feels less like The Mummy and more like another Lee Cronin horror film. If you’ve seen Evil Dead Rise, you’ll probably recognize the DNA almost immediately.

Horror first, it seems like the mummy cems second. Rather than focusing on ancient curses and classic monster horror, the film mixes together possession, exorcisms, ancient spirits, cursed objects, and over-the-top gore. By the time the third act arrives, it feels more like an Evil Dead movie wearing a mummy costume.

The similarities are obvious, and sometimes it feels as though the “mummy” element was added to a story that already wanted to be something else.

The film is Way too long. The biggest issue is the running time.

The first two acts spend so much time introducing characters, building mysteries, and lining up future victims that the film starts to drag. I understand why Cronin wants to establish the world, but everything feels over-explained.

Instead of creating tension, the movie keeps building… and building… and building.

It isn’t boring, but it definitely tests your patience.

When it works, Once the film finally reaches its third act, it becomes the wild, bloody horror movie it has been promising.

Cronin doesn’t hold back. The violence is brutal, the gore is excessive, and the film is surprisingly mean-spirited. Nobody feels safe, whether they’re children, adults, or elderly characters. That cruelty gives the movie an edge that many modern studio horror films avoid.

The creepy atmosphere also works more often than it doesn’t, even if the pacing occasionally gets in its own way.

I understand Why audiences were divided. I can understand why this version didn’t connect with everyone.

Some viewers were probably hoping for another swashbuckling adventure like the Brendan Fraser films. Others may have wanted something closer to the classic Universal horror movies from the 1930s and 1940s.

Instead, they got what is essentially an Evil Dead-style horror film built around mummy mythology.

That’s not necessarily a bad idea. it just isn’t what many people expected.

This is one of those movies that’s difficult to judge.

It accomplishes many of the things it sets out to do, but it also overdoes them. It explains too much, stretches scenes longer than necessary, and could easily have lost 20 or 30 minutes.

Still, I had a good enough time. It’s entertaining, the cast is solid, and I appreciate that Cronin tried something different instead of copying what came before.

It may not be the mummy movie everyone wanted, but it’s a decent horror popcorn film, even if it sometimes feels like an unofficial EVIL DEAD sequel wrapped in ancient bandages.

Grade: C

THE INVITE (2026)

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Directed By: Olivia Wilde

Written By: Rashida Jones & Will McCormack

Based on the Motion Picture “SENTIMENTAL” By: Cesc Gay

Cinematography: Adam Newport-Berra

Editor: Anthony Boys and Yorgos Mavropsaridis

Cast: Olivia Wilde, Penelope Cruz, Seth Rogen, Edward Norton

Joe and Angela’s marriage is on thin ice. When they invite their enigmatic upstairs neighbors for a dinner party, the night spirals into unexpected places.

This movie reminded me of something rather embarrassing. I have never been to a dinner party.

I’ve always wanted to be invited to one. Maybe one day, if I ever have a place of my own, I’ll throw one myself. Until then, all I really know about dinner parties comes from movies, television, and books. If they’re anything like this one… sign me up. Hopefully just with slightly less emotional damage.

This feels like a genuine comeback for Olivia Wilde as a director. It reminds you just how talented she is when she’s focused less on genre and spectacle, and more on people. Relationships, insecurities, attraction, jealousy, longing, you know those messy little emotions that make us human.

The film is a loving throwback to the intimate relationship dramas that flourished from the 1960s through the 1980s. You can immediately feel the DNA of WHO’S AFRAID OF VIRGINIA WOLFE and BOB & CAROL & TED & ALICE. It’s refreshing to see a movie made for adults that lets conversations become the action.

The smartest thing the film does is invite you into the story without revealing its hand. Whether you know the premise or go in completely blind, you’re pulled in by the seductive setup and the chemistry between the characters. As the evening unfolds, what begins as playful curiosity slowly transforms into something heavier, more emotionally revealing, and surprisingly tense. Yet the film always keeps a sense of humor tucked away in its back pocket.

Every actor is working at the top of their game, and each performance is an essential ingredient in what makes the film work.

Olivia Wilde is especially impressive, both behind and in front of the camera. She plays the anxious, seemingly ordinary half of a married couple stuck in a comfortable rut with Seth Rogen. It’s fascinating watching the dynamic evolve. To each other they’ve become familiar, almost invisible. But through someone else’s eyes, they suddenly become attractive again. The film cleverly explores how desire and perception change depending on who’s looking.

The entire movie feels like a beautifully staged play. I honestly assumed it was an original screenplay because it feels so confident and distinct. Finding out it’s actually adapted from a foreign film that’s already been remade several times was surprising. Even so, this version feels completely fresh and confidently stands on its own.

It’s bold without trying too hard. Provocative without becoming cynical. Underneath all the awkwardness, emotional chaos, and uncomfortable conversations is an oddly wholesome innocence about people simply wanting to reconnect with themselves, their partners, and the lives they’ve built.

At times the film almost plays like an emotional thriller. There isn’t a killer hiding in the house, just vulnerability, desire, regret, and the fear of saying the quiet part out loud. Somehow that’s even more suspenseful.

Even the soundtrack echoes the films that inspired it. It captures that sophisticated, simmering mood where something has been bubbling beneath the surface all evening, and you’re simply waiting for it to finally boil over.

The Invite is funny, sexy, awkward, revealing, and emotionally honest. It’s the kind of intelligent adult drama Hollywood used to make all the time and one I hope becomes fashionable again.

Grade: A 

FACKHAM HALL (2025)

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Directed By: Jim O’Hanlon 

Written By: Steve Dawson, Andre Dawson, Tim Inman, Jimmy Carr and Patrick Carr

Based on an original idea By: Jimmy Carr and Patrick Carr

Cast: Ben Radcliffe, Damien Lewis, Katherine Waterson, Thomasin McKenzie, Tom Felton, Emma Laird, Adam Woodward, Lily Knight, Jimmy Carr 

A new porter forms an odd bond with the youngest daughter of a well-known UK family. As the Davenport family, headed by Lord and Lady Davenport, deals with the epic disaster of the wedding of their eldest daughter to her caddish cousin.

At heart this film is a comedy. Well, I will admit I expected a fast paced witty British comedy of errors and manners what it actually ends up being is more a spoof-Ish wacky comedy along the lines of the naked gun mixed with throwback aristocratic. Period piece  romance dramas of the British variety like downtown Abbey.

Where throughout the film, it feels like there are mile a minute jokes being thrown all over to see what sticks, but maybe with its upper crust background of characters. It ends up being a bit surprising, and yet quite charming.

I think this is a film that will appeal to all audiences even those who might be unfamiliar with the films or shows like DOWNTON ABBEY. As at times, the film is all over the place, but manages to stick to the landing and staying with it storyline and plots, even if they don’t always make sense.

So it’s an interesting mix that keeps it lively and an experiment that may be more films should take when mixing genres as at least it doesn’t make it evident at first, and you slowly get into that groove in atmosphere of it. It’s not so obvious nor were too ingredients. Don’t mix in the right way so that it’s actually well thought out.

Unfortunately, after a while, it does start to run out of steam or you get so used to it. It’s hard to surprise you anymroe.

The film is wacky and can be a bit offensive, but manages to keep its charms about it as well as giving us a romance that we want to see basic successful. 

GRADE: B- 

ONE MORE SHOT (2025)

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Directed By: Nicole Clifford

Written By: Alice Fulcher and Gregory Erdstein

Based on a Story by: Heather Wilson

Cinematography: Simon Ozolins

Editor: Julie-Anne De Ruvo

Cast: Emily Browning, Aisha Dee, Sean Keenan, Ashley Zuckerman, Pallavi Sharda, Hamish Michael, Anna McGahan, Contessa Treffone

New Year’s Eve 1999. Minnie discovers a bottle of Time Traveling Tequila. Each shot takes her back to the start of the night, giving her a bottle’s worth of shots to change the course of her millennium.

This movie takes the familiar groundhog‘s Day formula and places it on a single nurse reuniting with college friends in 1999 when it’s about to become the year 2000 and thanks to a magical tequila which when she takes a shot of brings her back to the exact moment that she arrives at the party she tries to get it right each time to have a successful romantic reunion with her ex

The film follows the formula of each time things going drastically wrong and throughout the film learning it’s less about her and more about the relationships and people surrounding her. That makes for many times when you think the main character is finally going to learn their lesson and move on, but then still keeps making the same mistakes just in different ways that by the third act and there is a little surprise as we find out, she might not be the only one who is having or has had this experience

The cast is committed to the material. It’s just one wishes the material was a little bit richer as the film should somewhat being ensemble, but it seems to only remember this when it comes to the third act before that is pretty much a one-woman show for lead. Emily Browning, who I am a fan of and finally gets a chance to shine in lighter material than she is usually in

Going for the more traditional romantic comedy and then just general comedy that does have a few Macabre moments. That is much darker than the usual GROUNDHOG DAY plot devices.

It’s just that the film is never quite funny enough nor compelling enough so that it comes across as only OK even with its familiar material. it remains entertaining enough and what help salad is that there isn’t any big comedian in the film so you don’t have to watch their so-called stick it’s more just actors which makes it a little more believable no matter how silly they might get.

Though at times it feels like it’s Stretching to fit in some more comedy at times when the Main character makes truly baffling decisions. 

The film for all its cynical beginnings develops a heart throughout which then kind of cancels the first half though it might be the film and filmmaker trying to show not only the growth of characters, but also the growth of material and the film maturing. 

It seems set in the millennium just for the soundtracks sake which it doesn’t do much with and maybe to keep cellphones out of the equation and explain certain costume choices,but other then that could have stayed modern.

Let though it’s entertaining enough and a good time waster if you do want to check it out and it’s fine for what it is. The draw here is Emily Browning

Grade: C 

DUDE BRO PARTY MASSACRE III (2015)

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Directed By: Tomm Jacobsen, Jon Salmon & Michael Rousselet 

Written By: Tomm Jacobsen, Jon Salmon, Michael Rousselet, Alec Owen, Ben Gigli, Brian Firenzi, Joey Scoma, Michael E. Peter, Mike James and Tim Cianco 

Cinematography: Jon Salmon

Editor: Brain Firenzi 

Cast: Alec Owen, Ben Gigli, Olivia Taylor Dudley, Erik Sandoval, Chelsea St. John, Skyler Rousselet,  Larry King, Greg Sestero, Andrew WK

In the wake of two back-to-back mass murders on Chico’s frat row, loner Brent Chirino must infiltrate the ranks of a popular fraternity to investigate his twin brother’s murder at the hands of the serial killer known as “Motherface.”

This film is definitely for those who are looking for something a bit different and might be movie purists.

This film is based on a fake trailer that was posted on the website 5secondfilms.com and the feature film was produced by them as well. 

The history of this supposed cult movie is obviously made up as there has been no previous films of this franchise. This instead is an homage and original that pretends to be a sequel. Giving all the characters a supposed history together. 

The collaboration behind the scenes and in front of the camera. Just finding out the story of how it got made is as crazy as the film 

At heart it shows a passion for the films it is clearly inspired by and is a B-Movie satire and spoof of those VHS straight to home video movies of the 1980’s as well as those particularly made and filmed on VHS horror movies of that time period. Made on the cheap, usually ridiculous but have a lot of where as dream amateur productions come to life. As much as they could afford 

These are the type of films that would at on USA UP ALL NIGHT. All the time and somewhat censored. Though they have a sense of humor about themselves. They were earnest in what they were hoping to achieve.

The film is juvenile with a lot of off color humor, with ridiculous characters and plot lie s that I respect with being an exploitive slasher film. TBH tough has quite a few surprising cameos throughout. 

At least it stays inventive throughout with practical special effects taking center stage. 

The film feels like a comedy group making a spoof movie. Like KIDS IN THE HALL, BROKEN LIZARD, ASTRON-6. That is how the casts chemistry works so well. It’s silly yet fun especially if you are a fan of horror movies.

Though in the end the film is entertaining, fun, low brow humor, passionate and funny. While also being all over the place and full of cliches 

GRADE: B