In the sixth installment in the long running franchise, Ghostface takes a bite out of the Big Apple and a slash or two into the next victims.
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Print Reviews
Thanks to a fresh and clever script, a couple of directors show know how their way around a horror flick, and a cast filled with actors who love being apart of the Ghostface universe, this movie hits all the right notes for fans.
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‘They Wait in the Dark’ is an eerie independent horror thriller treat, with a slow-burn story, standout acting, and some scares as icing on the cake.
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Deliberate and precise, ‘One Fine Morning’ pulls no punches while never going for the knockout blow, exploring life’s most desperate/cherished moments.
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‘Creed III’ doesn’t live up to the greatness that’s come before it, but it is able to stand alone with strong performances from the stellar cast.
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The ‘Children of the Corn’ remake derails from Stephen King’s original source and spurns religious zealotry for environmental lectures. Plus they show the monster. Now you don’t have to see it.
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‘Cocaine Bear’ is exactly the movie you want it to be. It’s funny. Crazy. Violent. And gory. Everything you need to know is in the title.
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A gory, funny, irreverent triviality that doesn’t overstay its welcome, Cocaine Bear delivers on its eponymous promise (and little else).
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‘Ant-Man and the Wasp: Quantumania’ lacks the heart and soul that made us fall in love with Ant-Man and just isn’t the storytelling boost the MCU needed right now after some misfires from some of its big guns over the past year or so.
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For what he hopes will be one last hurrah, a former male stripper heads to London with a wealthy socialite who lures him with an offer he can’t refuse…and an agenda all her own.
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‘Consecration’ is a grab-bag of horror tropes and cinematic parlor tricks that amuses for a time, yet ultimately stumbles.
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‘Knock at the Cabin’ is a middle-of-the-pack M. Night film with a solid cast and a stellar set up but fails to sink its teeth into its own questions.
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A story about the holding patterns people put themselves in while waiting for life to happen to them, “Living” is Bill Nighy at his best.
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Five pounds of movie stuffed in a 10-pound bag, “Alice, Darling” is less a story and more a snapshot: teasing the profound while never quite arriving there.
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Not nearly fun enough to exist as pure escapism, and far too ridiculous to take at face value, ‘Plane’ is a vessel without a (air)port.
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