Tag: Horror

A WOUNDED FAWN (2022)

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Directed By: Travis Stevens

Written By: Travis Stevens and Nathan Faudree

Cinematography: Ksusha Genenfeld

Editor: Zach Clark and Travis Stevens

Cast: Josh Ruben, Sarah Lind, Malin Barr, Katie Kung, Lakshmi Hedemark, Tanya Everett, Marshall Taylor Thurman, Neal Mayer 

A serial killer brings an unsuspecting new victim on a weekend getaway to add another body to his ever-growing count. She’s buying into his faux charms, and he’s eagerly lusting for blood. What could possibly go wrong?

This film has a very original trajectory, whereas the first half plays more traditional and linear where it surprises you and it feels a little more predictable as we have seen this before a kind of serial killer working his way on a current victim. 

Then all of a sudden the film which already was leaning into more psychological and the psychedelic. Totally moves and gives itself up to that direction where we are now seeing the delusions and the reality of the situation that the serial killer has found himself in.

Where he is haunted by different ghosts, demons of past victims telling him what to do and also torturing him as he tries to find his latest victim and to see if she is truly alive or is she dead?

This is where the film also becomes more violent and a little grotesque, though it stays captivating as you wonder what’s real and what isn’t just like the lead character and wondering where this is going to go and what is the ultimate ending.

This isn’t a film one could call light, but it does try to offer something new and different and a bit more experimental in the genre that keeps you guessing, and usually you will be wrong as to where it might go or where it goes, which adds a little decadent fund to the whole endeavor.

This room isn’t gonna be for everyone so if you’re looking for the traditional horror film, this is probably not for you or even if you’re looking for a slash or film this is not going to be the film for it but if you like your horror a little out there and maybe a little thought-provoking and unsteady this might be the film for you

Grade: B-

THE LIVING DEAD GIRL (1982)

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Directed By: Jean Rollin 

Written By: Jean Rollin, Jacques Ralf and Gregory Heller

Cinematography: Max Monteillet 

Editor: Janette Kronegger 

Cast: Francoise Blanchard, Marina Pierro, Mike Marshall, Carina Barone, Fanny Maggier, Patricia Besnard-Rousseau, Veronique Pinson, Sandrine Morel 

A toxic spill revives a beautiful, dead heiress who, with the help of her childhood friend, must quench her insatiable thirst for blood.

This is the first Jean Rollin directed film that I have seen, even as his films are notorious it film circles for their more sexual material in the middle of being a horror film and here is a perfect example, even though this is the first and only I’ve seen I imagine that the rest of his films are similar to a degree only hopefully better quality

Has this film plays like a 1970s softcore movie that strives to be artistic in European mixed with random ridiculous violence that looks like it should be in a low budget grind house horror film that is even over the top four it subject matter

At heart it’s a love story that is also a zombie movie where the female zombie in this film has quite amazing strength and seems to be perfectly presented and not the George Romero type where they crave brains in our continuously rotting. The zombie is cannibalistic, though that doesn’t seem to come out until the second half of the film Moore..

Which by the end doesn’t even matter because even though it’s zombies, the film seems to have the same rules where it could’ve easily been a vampire but it seems like the filmmakers were like well. We’ve been there and done that so let’s move on to zombies which I can’t blame the filmmakers for because eventually that is how Hollywood started treating the genre also it seems more in the early 2000s when there was a horror where vampire suddenly became in in the shadow of the popular TWILIGHT movies those after realizing the overkill and dwindling box office of those particular creatures, always romantic nature and always seeming to come around once in a while they moved to zombies, but not just plain old zombie films soon we were starting to get zombie films that were romantic like WARM BODIES or just zombies in general to be our protagonist who we feel sorry for as they are cursed or just a general villain. 

Director Jean Rollin’s style makes the film feel like his own personal fetish or fantasy material with actress Francoise Blanchard, as he seems or makes the camera seem obsessed with her from the many angles in poses he has her do especially nude as well as her female, best friend and lover, played by Marina Pierro though not as obsessed with her she is quite beautiful and stunning in her own right prove that the coldest or most evil monsters aren’t always the supernatural kind

Luckily, the film does have a plot that is barely there, but there is a story that ties everything together, which is a essentially a forbidden romance film between two women with themes of obsession that feels overall throughout, even while trying to show one’s devotion to the other

It comes across pretty pretentious as it tries at certain points to be classy, but it has just a low class style, like wanting to be artistic, but also wanting to be down with the people while providing plenty of sex which year is more nudity and violence at which at times can be gory, though only in one scene does it feel like it keeps going on and on and over the top

I believe the film is a bit anti-American. As it has the only American player by Mike Marshall be a complete idiot and blind to all that is going on around him. As he is the amateur photographer who keep snooping in and investigating’s boyfriend.

The film is a lesbian romance that is interrupted and slowly starts to break down and become more dramatic and tries to involve certain characters investigating these uncommon occurrences, though they seem here only for the audience to get more of a backstory that the two main characters are not providing

By the end, the film feels much do about nothing. The type that you probably wanted to watch when you were 13 only because you saw on the TV Guide that it had nudity and sexual themes, but then were partially disappointed because he had to sit through so much just to get to those scenes and it’s still seeing the kind of odd or something that you weren’t used to, though I wonder if that is what shaped certain artist Taste was going in for one thing expecting more T And A as well as exploitation and in sitting through all of the film just to get to that they also started to learn to appreciate art of foreign cultures, depth, story, or seek out what they weren’t used to necessarily.

The quality of this film could’ve been more understood if it had been made in the 60s or 70s, but this was made in 1982. It feels like the filmmaker’s knew better then again maybe it was a throwback for them rather than trying to be modern or they were trying to make a film that seemed more dipped in the past with for 1982 modern sensibilities as it was a decade just beginning and hadn’t quite found an identity yet, but was coming into its own

There is an English language version of the film. That was filmed and directed by Gregory heller only using the same cast and crew. A she would film the same exact scenes in English right after they did them originally in French. It was never released and thought to be a lost film or lost version of the film. 

Though even if it hopefully was one of those films that was a Gateway drug to better quality films of this type, this was still a major disappointment, though it will be slow. Can’t wait to see how this one measured up to his other films in terms of quality. As with this one, I like the song that it inspired by Rob Zombie, which to me is more exciting than the actual film that inspired it here.

For me this film is overhyped 

Grade: D+ 

BUDDY (2026)

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Directed By: Casper Kelly

Written By: Casper Kelly and Jamie King

Cinematography: Zach Kuperstein

Editor: Josh Ethier 

Cast: Delaney Quinn, Caleb Williams, Cristin Milioti, Topher Grace, Keegan-Michael Key, Patton Oswalt, Michael Shannon, Clint Howard

A brave girl and her friends must escape a kids television show.

There are some movies where the less you know going in, the better. BUDDY is definitely one of them.

This is a film that can be ambiguous and awkward, but always feels just a bit off and creepy. Yet somewhat comfortable 

If you’re familiar with writer-director Casper Kelly’s short for ADULT SWIM, TOO MANY COOKS you may already have an idea of the kind of strange, unsettling sense of humor he brings to the table. That short took something as harmless and familiar as television opening themes and slowly revealed something much darker bubbling underneath. This film plays with that same idea of innocence turning increasingly… well, not so innocent. And this film is definitely out there.

The first fifteen minutes might test your patience or your willingness to go along with it. As we’re introduced to what appears to be an actual children’s television show. Episode after episode, everything seems cute, cheerful and perfectly harmless. Then, almost imperceptibly, things begin to feel a little wrong. And then a little more wrong. Before long, you realize you’re not watching the movie you thought you were watching.

I won’t say much more, because discovering where BUDDY goes is part of the fun. The film has an unusual way of withholding information, and by the time it reaches the end, it leaves you with more questions than answers. Normally that might frustrate me, but here I found myself wanting to know more.

That’s probably the nicest thing I can say about the film: I wanted more.

The recognizable adult cast is used barely, with the kids essentially carrying the movie. And despite the innocent looking premise, this is absolutely not a movie for children. There is some disturbing violence involving kids that will understandably be difficult for some viewers.

But what makes the film refreshing is that it never seems particularly interested in giving you exactly what you expect.

This isn’t your typical horror movie. In fact, some people may find that disappointing. There are moments when you expect the film to push things further, only for it to pull back and leave you wondering what exactly you just watched.

Personally, I appreciated that restraint.

BUDDY is disturbing, strange and occasionally bizarre, but there’s something wonderfully curious about it. It feels like a movie that wants you to think about it afterward rather than simply move on to the next thing.

Is it for everybody? Absolutely not, But maybe that’s part of why I liked it.

There’s something to be said for a movie that doesn’t completely explain itself, doesn’t follow the usual rules and leaves you just curious enough to want to step back into its world.

So if you’re looking for something familiar, predictable and comfortably within the lines, this  probably isn’t your movie. But if you’re willing to take a chance on something weird? Give it a try.

No matter what, I have a feeling you’ll remember it.

Grade: B+

PRIMATE (2026)

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Directed By: Johannes Roberts 

Written By: Johannes Roberts and Ernest Riera 

Cinematography: Stephen Murphy 

Editor: Peter Gvozdas

Cast: Tony Kotsur, Johnny Sequoyah, Jessica Alexander, Victoria Wyant, Gia Hunter, Benjamin Cheng, Charlie Mann, Tienne Simon 

Looking forward to a relaxing vacation with friends, Lucy returns to her cliffside home in Hawaii after her first year of college. After all, with her father away on business, they have the house all to themselves. However, their reunion takes a dark turn when Ben, the family’s beloved chimpanzee, begins to show strange aggression. As Ben becomes an unpredictable threat to humans, Lucy must find a way to escape the raging primate and survive the night. But what good is fighting back when pinned down by a brutal force of nature?

Out of all the monkey movies that I have seen, this might be a favor only because it is truly a guilty pleasure.

The film tries to put everything together like it makes sense but when you try to describe the plot to someone and what happens in the story, it just sounds so ridiculous even if it is rather simple.

This film is basically if they made a sequel to Stephen King’s CUJO only with a monkey, because it’s pretty much kind of the same story only more victims and ways in which to bring more victims, a kind of standoff of trying to survive, and then a final confrontation where winner takes all.

This is good if you really just wanna watch a horror movie that’s just brutal. As that is one of the most impressive aspects of the film are the special effects. Especially the Gore effects and it’s graphic violence. This is also a film that has plenty of jump scares, which actually helps this is one of those more classic horror film formulas. Which is meant to scare an unnerve, and it works for the most part.

It’s just not that smart, but luckily it gets to the point rather fast. This isn’t a film where we spend the first half getting to know the character is getting to know the monkey and then realize something must be wrong and then the second half is more of a thriller. Which realizes what it is and tries to get to the point. It’s pretty much a B-movie in glossy clothing. In other words, a low browse satisfactory popcorn movie thank you. Will most likely forget soon after.

The film doesn’t have any real stars, but it does put Academy Award-winning Tony Kotsur in a pivotal role for the film as he is probably the biggest name in the cast. Next to a rather odd uncredited actor here for a cameo mysteriously.

This is The first johannes Roberts film I have enjoyed since THE STRANGERS: PREY AT NIGHT and he has made a bunch of film since then.

Though with most of the victims at first seeming to be female, but then they try to even it up by adding males, which they set up early in the script. It does end up becoming equal as at first it would seem rather sexist that all the females would be in peril and be getting killed off and increasingly brutal ways.

The film even has its first scene which is a death scene that takes place actually later in time in the film, but yet is the opening scene meant to grab your attention. Why not just have him murder another random person for that opening scene and then keep the other attendants peril for when it naturally happens in the story it’s just a weird edit

If you are a horror fan, I would say check this film out, but definitely don’t pay for it. Watch it for free streaming. Where you can and you can pretty much put it on for the background. Though it wouldn’t hurt to pay attention. Even if you know where it is going. As it doesn’t break any new ground you’re just surprised at how violent it actually gets as it seemed more shocked, like a PG-13 extravaganza and ends up a hard one, but for violence mostly.

It stays entertaining throughout and is never boring

Grade: C 

BAXTER (1989)

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Directed By: Jerome Boivin

Written By: Jerome Boivin and Jacques Audiard 

Based On The Book “HELL HOUND” By: Ken Greenhall

Cinematography: Yves Angelo

Editor: Marie-Jose Chauvel

Cast: Lisa Delaware, Jean Mercure, Jacques Spiesser, Catherine Ferran, Jean-Paul Roussillon, Sabrina Leurgoin, Daniel Rialet, Evelyn Dipi

Told from a dogs perspective – the titular Baxter is moved from one owner to another, seemingly never being a good fit for anyone.

Have you ever watched a movie that is so good you have no desire to really ever watch it again yet you would still recommend it. Well, this is one of those movies for me. Kept me watching with fear and anticipation until the end. Leave it to the French.

I was hoping that the recently released film GOOD BOY, would be on the level of this film while I found that film disappointing this was better than I could’ve ever expected as it kind of feels like it’s own version of the film MAN BITES DOG, though not as disturbing, but disturbing in its own way. Though this film could be watched with films such as WHITE DOG and WHITE GOD. Why all these films have White in the title? You’ll have to watch them and see.

This movie is a very depressing indefinitely disturbing though it never shows any violence throughout more leaving it suggested until the third act. 

Throughout the film, you know where it is going but not how it will get there or what it will do when it does and you kind of hope that it might steer itself somewhere else as we get to know the next inheritors of the dog and can instantly spot their weaknesses and vulnerability. especially as he seems to more go after the innocent, lonely, weak and trusting. All those that used to be sacred in films of the past or even of the films time period in which it was made.

Fell through throughout was thankful it didn’t go some places that were expected. As one feels sorry for most of the characters 

they keep in mind as one get older films like this bother me. They aren’t exactly for me anymore, but they’re watching it. It definitely inspired a reaction and kept me watching which can be rare when it comes to certain films

The film disturbed me yet want to read. It’s original source material. A 1970s American horror. Novel. Not shocked that one of the Screenwriter was future award-winning filmmaker Jacques Audiard (DHEEPAN)

I thought the film would be more an ensemble episodic anthology movie, Sort of like the movie WEINER DOG with less quirky comedy. Which then again makes me wonder if Todd Solondz  was inspired by this movie even as this stays more in a certain community in the neighborhood.

The ending is disturbing and sad as it shows a kind of legacy that will continue in its own one. 

Writer-Director John Waters put this on his list of favorite films that will corrupt you when he had an all two brief movie review show of his own

Which ends up being true as by the end, you are scared and feel a bit guilty as a film is going to make you feel something with barely having a Music score to guide you. It’s not flashy stylistically it’s definitely challenging and seek to instigate as you are a fly on the wall throughout and is going to take you with it willingly or even if it has to drag you unwillingly 

Grade: A

WILD ZERO (1999)

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Directed By: Tetsuro Takeuchi

Written by: Tetsuro Takeuchi and Satoshi Takagi

Cinematography: Motoki Kobayashi

Editor: Tomoe Kubota 

Cast: Guitar Wolf, Drum Wolf, Bass Wolf, Masashi Endo, Kwancharu Shitichai, Makoto Inamiya, Haruka Nakajo, Shiro Namiki, Yoshiyuki Morishita 

After a meteor strike aliens attack the earth and begin turning people into zombies. Rockers Guitar Wolf, Bass Wolf and Drum Wolf aswell as their rock and roll blood brother ace and his true love Tobio are caught in the middle of this madness

WILD ZERO starts weird, gets weirder, and somehow still has room to surprise you.

The film quickly introduces its colorful cast before throwing all of their storylines together. At its heart, it’s an ensemble movie, even if the legendary Guitar Wolf stand proudly at the center like the coolest people to ever ignore the apocalypse.

This thing is loud, unfiltered, ridiculous, and incredibly charming. The third act is absolutely bonkers, piling on zombies, aliens, explosions, romance, and pure punk-rock energy. It shouldn’t make sense, yet somehow it feels completely natural. Every time you think the movie has run out of ideas, it casually throws another one at you.

Having Guitar Wolf play themselves is inspired . Imagine the Ramones in ROCK N ROLL HIGH SCHOOL filtered through a Japanese zombie movie with a garage punk soundtrack. They don’t perform every five minutes, but every scene they’re in reminds you why they’re the coolest band in the room. While everyone else panics, they just keep moving forward like the end of the world is an inconvenience. 

One of the film’s biggest surprises is its love story. At the center is a romance between a cisgender man and a trans woman that feels remarkably thoughtful for a film released in 1999. It acknowledges fear and prejudice but ultimately lands on acceptance without ever feeling preachy. It simply lets the characters exist, and Guitar Wolf delivers one of the film’s most memorable speeches about love that perfectly sums up its philosophy.

The world itself is delightfully off-kilter. A club manager is so obsessed with revenge that he’ll chase the band to the ends of the Earth, usually while wearing hilariously tiny shorts. Another character looks like a punk-rock mercenary whose wardrobe somehow becomes more dangerous every time she appears. Nobody dresses normally, nobody acts normally, and that’s exactly the point.

Think of it as SCOTT PILGRIM VS. THE WORLD nearly a decade early, only traded indie rock for Japanese punk, replaced the exes with a bunch of slow moving classic zombies, and decided aliens might as well show up too.

It’s a movie overflowing with imagination, creativity, and infectious energy. I owned the DVD for years but somehow never got around to watching it until now on streaming. Strangely, I’m glad I waited. I probably would’ve enjoyed it back then, but I appreciate its sheer originality much more today.

I wouldn’t call it a personal favorite, but I absolutely understand why it’s become a cult classic. If you’re looking for something unpredictable, inventive, funny, and unlike almost anything else, WILD ZERO  is an easy recommendation.

Honestly, it feels like the CRANK movies were chasing this same “anything goes” energy years later. Few films embrace insanity with this much confidence and have this much fun doing it.

Grade: B+

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-

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