As we’re all aware, this has been a hell of a year for the box office, with hits like BAD BOYS FOR LIFE, 1917, SONIC THE HEDGEHOG and other movies released last year or in January or February. And in early June, Forbes reported a notable box office achievement: THE WRETCHED, a low budget horror movie released by IFC, was the first film since AVATAR to top the box office for six consecutive weeks. A smash!
There are a few caveats to that. Number one, one could argue that other movies would’ve dominated the summer box office had there not been a pandemic that cancelled most studio releases and closed down all but drive-in theaters. (But you can never prove it!) Number two, Deadline reported in a dickish, parade-pissing article (even using the term “fake news” for maximum assholeishness) that TROLLS WORLD TOUR and left over studio movies THE INVISIBLE MAN and THE HUNT actually made more than THE WRETCHED during that period but didn’t report their box office numbers. The article is too busy trying to prove that Box Office Mojo is wrong to explain why, but I assume the studios were panicking about the public knowing how much money they were losing. Chaos reigns.
I don’t know, but the point is I only know of THE WRETCHED because it was (at least briefly) the answer to that trivia question. I thought that was cool. Hooray for drive-ins, and hooray for the dumb stupid luck of this random horror movie that happened to be coming out at that time.
But it’s been on disc for a while (and it’s on Hulu) and now that I watched it I’m happy to find that it deserves the attention. (read the rest of this shit…)
This is a rare event for me, to watch a prequel to a movie I haven’t seen and don’t plan to see. The original OUIJA from 2014 was a PG-13 horror movie co-produced by ghost-merchants Blumhouse and remakers Platinum Dunes, “based on Ouija by Hasbro.” It’s the same writers as KNOWING, which could be a plus, but I didn’t know that until just now. So it didn’t seem like a movie for me, and nobody told me otherwise.
Well! Heh, heh! Hello there boys, ghouls and non-DIE-naries. It’s me again, your voluble villain of vivacious vicarious violence, Vern! I don’t tend to review the anthologies nearly as much as other types of horror, but this year two of the SCREAM-ing services have new ones that seemed promising. So I’ve prepared for you an anthology of anthologies, a little two-headed review I call THE PAIR-ER OF TERROR!
I had heard some not very good things about THE BABYSITTER, so I was surprised when I, a person who’s generally pretty picky about horror comedies, liked it more than my friends. And then as soon as I said that everybody told me “I liked the first one, but the sequel is terrible.”
It’s common during These Uncertain Times to say that time is moving slowly. I generally agree. But as a counterpoint, I sincerely thought McG’s straight-to-Netflix horror comedy THE BABYSITTER came out recently, and that I would get to it eventually. Turns out it’s been three years since it came out and there’s already a sequel where the main characters have grown like a foot taller. So eventually has arrived.
SEIZED is the long-awaited new one from DTV superteam Scott Adkins and Isaac Florentine. Though lately Adkins has formed a strong actor/director partnership with Jesse V. Johnson, it was Florentine who first gave him a showcase in 
Now that I’ve finally caught up with the greatness of 
Many of you have been trying to tell me this for years, and it has finally gotten through to me: THE HIDDEN is incredible. It’s kind of a sci-fi/horror/action hybrid, and it hits hard on all counts. Makes sense that it’s director Jack Sholder’s bridge between the horror of 
