The sister of a survivor of the previous movie becomes involved in the search for a magical idol. OK-as-far-as-it-goes DTV sequel expanding on the first movie in promising ways, and gleeful in its gore. A cast of vaguely-familiar UK telly faces helps, even though the movie crumbles into daftness.
A theme park owner hosts a birthday party in a supposedly-haunted ex-asylum. Remake of the Vincent Price flick. More a premise than a movie, though there’s some fun to be had before it kinda falls apart, not least in Geoffrey Rush and Famke Janssen out-camping each other, and in some neat FX touches. A DTV sequel followed.
In 1904 China, a visiting Van Helsing helps combat a Dracula-led vampiric uprising. The last pic of the Hammer cycle innovates through genre mash-up (and a deal with Shaw Brothers). It’s messy, but fun: martial arts showcasing, twists on undead lore, plus some location spectacle all helps.
Dracula seeks revenge on the modern-day Van Helsings. This series reboot revisits plot elements from Taste The Blood Of… and … Has Risen but sets them in then-contemporary Chelsea. The swinging London stuff was dated in ’72, but this is still a brisk romp with a time-capsule attraction and some grittier asides.
A revived Count seeks revenge on the priest whose exorcism has barred him from his castle. Continuing from Dracula: Prince of Darkness, this series entry doesn’t offer much that’s new, but Francis’s direction is fun, and a dull second act leads to a lively climax.
A woman taking a first anniversary break with her wife discovers she is psychopathic. While some of the story beats are a little off, this is nevertheless a well-sustained and confident variation on the backwoods survival thriller. Decent performances, solid direction and some quirky moments all help.
Vampire hunters tackle an ancient evil. Innovative, brisk and for-its-time revolutionary version of the gothic horror classic, here telescoped admirably into a pacy visual thriller. Played straight, fluidly directed and still influential. Recommended. Eight sequels followed.
A remote village is beset by a series of unexplained deaths. Part Brazilian political allegory, part weird western, part body-count horror with SF touches, Bacarau is tremendous throughout, looks great, makes you think, and has Udo Kier on fine form. Recommended.
The final part of the trilogy: events and characters between 1994 and 1666 are linked. A messy finale saddled with an offstage villain, variable accents, a weird lack of interest in its potentially-good ideas, and an hour of padding. Not great at all: precisely one interesting visual moment.
A worthwhile sequel that follows the events of A Quiet Place. A tad more fleshed out and confident, this film eventually borrows too many tropes from other movies and video games – particularly the latter – and lacks the plot to deliver on them. Still a great central premise – worth watching.