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Category: Horror

  • Ebola Syndrome (1996)

    Ebola Syndrome (1996)

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    In the late 1980s, the Hong Kong government introduced a new ratings system for movies due to public concerns. There were three categories: Category I for all ages, Category II for older audiences, and Category III for 18+. This new system saw dozens of exploitation films coming from Hong Kong, starting with 1988’s Men Behind the Sun. The 90s saw a surge of Category III films hit theaters, with some netting huge box office returns. 1993’s The Untold Story grossed over HK$15 million and won Best Actor at the Hong Kong Film Awards. Following its success, director Herman Yau got an offer from writer/producer Wong Jing to helm another grisly shocker. In 1995, an Ebola outbreak devastated the Democratic Republic of Congo, which Jing thought would make a compelling movie. After some rewrites from Yau, he and star Anthony Wong teamed up for 1996’s Ebola Syndrome.

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    Synopsis

    When his boss catches him with his wife, Kai San (Anthony Wong) kills his boss, his henchmen, and his wife. He flees Hong Kong and takes up residence in South Africa, where he lives for a decade. Kai now works at a Chinese restaurant where the owner and his wife constantly hassle him. The boss takes Kai to a Zulu tribe to buy some cheap meat, which is dealing with an Ebola outbreak. While out, Kai rapes a dying tribeswoman and ends up contracting Ebola, but he has a rare immunity. The owner’s wife contemplates killing Kai, which leads to Kai raping her and killing the owner, her, and her cousin. In addition, he chops up their bodies, makes them into burgers, and serves them to customers, inadvertently spreading the virus. As the police scramble to figure out what’s happening, Kai travels back to Hong Kong, unknowingly spreading Ebola.

     

    Review

    Ebola Syndrome is a wild ride of depravity and disgust, not suitable for the faint of heart. This movie is a nasty little affair that pushes the boundaries of good taste to an outrageous degree. When you think the filmmakers wouldn’t go there, not only do they go there, but they practically jump over it. The opening scene alone has our protagonist getting urinated on by the woman he was having an affair with. Director Herman Yau almost delights in how far he can go to challenge the audience’s sensibilities, which is admirable. What’s more shocking is the dark humor sprinkled in, like how Kai constantly accuses people of “busting his balls.” Admittedly, there are moments of real animal deaths that are inexcusable, even if it’s meant to be shocking. You could argue that these scenes add a sense of realism, but this is a movie, not real life.

    On a more positive note, what makes this movie work so well is Anthony Wong’s performance as the sadistic Kai. While most everyone is a scumbag, he’s the biggest scumbag of them all, raping and killing without a second thought. Much like Christian Bale’s performance in American Psycho, Wong brings a certain charisma that makes him fun to watch. Sure, the movie doesn’t present anything he does positively, but there’s a reckless abandon that makes him fascinating. In a way, his performance overshadows everyone else, not because the rest are bad, but because he’s so good. That said, the other actors do a fine job, the highlight being Tsui-Ling Wong as Lily, one of Kai’s victims. She’s one of the few good characters in the movie, and you want to see her survive. Unfortunately, given the nature of this film, we know she’s not going to have a happy ending.

    Given his experience as a cinematographer, it makes sense that Herman Yau’s direction is so fluid and stylish. As ugly as the story is, the film has a striking beauty that separates it from other splatter fare. Yau takes full advantage of his locations, from the African outback to the Hong Kong city streets. Granted, the film suffers from some pacing issues, especially towards the middle, during the police investigation. Even Kai’s repugnant behavior feels tiresome after a while, but that could be Yau trying to desensitize the audience. Still, for a roughly 90-minute movie, it’s a wild ride that throws out imagery you won’t soon forget. Obviously, a film like this won’t appeal to the average moviegoer, so I only recommend this for the strong-willed. Overall, Ebola Syndrome is a sick, twisted tale with an excellent lead performance, solid direction, and unforgettably gross moments.

     

    Buy Ebola Syndrome from Amazon: https://amzn.to/4n2oXJf.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Ebola Syndrome

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  • The Return of the Living Dead (1985)

    The Return of the Living Dead (1985)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Following 1968’s Night of the Living Dead, writer/director George A. Romero and co-writer John A. Russo parted ways. While Romero made his sequel, 1978’s Dawn of the Dead, Russo still had rights to the Living Dead title. Russo adapted his ideas into a novel, which aspiring producer Tom Fox purchased the rights to adapt to film. Initially, Tobe Hooper came on board to direct, but due to financial struggles, he left to work on Lifeforce. In his place was co-writer Dan O’Bannon of Alien fame, who agreed to direct if he could rewrite the script. O’Bannon significantly altered the screenplay to avoid comparisons with Romero’s work, incorporating more humor, punk aesthetics, and intelligent zombies. With a $3-4 million budget, filming faced challenges, including the firing of effects artist William Munns and arguments with actors. Despite these issues, The Return of the Living Dead landed in theaters in August 1985.

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    Synopsis

    Freddy (Thom Mathews) recently got a new job at the Uneeda Medical Supply Warehouse working with Frank (James Karen). Wanting to impress him, Frank shows Freddy military drums with corpses infected by toxic gas stored in the basement. Unfortunately, Frank accidentally cracks the tank, releasing the gas into the warehouse, which resurrects everything inside, including a cadaver. Frank calls their boss, Burt (Clu Gulager), for help, but they discover that destroying the brain won’t kill the undead. Burt decides to dismember the cadaver and have his friend, Ernie (Don Calfa), cremate the remains, inadvertently releasing the gas. Meanwhile, Freddy’s girlfriend, Tina (Beverly Randolph), and his friends party at the local cemetery when all hell breaks loose. To make matters worse, Frank and Freddy are slowly dying due to being infected by the gas. Will our heroes survive against the undead, or will things continue to worsen?

     

    Review

    The Return of the Living Dead stands as one of the best zombie movies of the 80s and all time. Sure, Romero’s Night of the Living Dead is the gold standard, but Return is on the same level. What helps this movie stand out is the addition of dark comedy and punk aesthetics mixed with the horror. Return is one of those rare horror comedies that strikes a balance of humor and horror without compromising the tone. Everyone in the cast plays the material straight, which makes the absurdity even funnier as things continue to worsen. The movie features political satire, as the canisters’ arrival results from a military mistake they tried to hide. This sentiment echoes elements from O’Bannon’s work on Alien, whose faceless corporation prioritized retrieving the Xenomorph over the crew. Thankfully, the message is woven into the story rather than taking center stage over it.

    Thom Mathews and James Karen are fantastic as Freddy and Frank, respectively, our hapless heroes doomed from the start. They do a great job showing how they’re slowly dying as the toxic gas takes over without going overboard. Clu Gulager is wonderfully dry as Bert, the no-nonsense boss who’s trying to make sense of the ever-worsening situation. Don Calfa is also memorable as the off-kilter mortician, Ernie, whose sense of reality continually slips as the film progresses. The punk cast, which includes Linnea Quigley, Mark Venturini, Miguel A. Núñez Jr., Jewel Shepard, and John Philbin, is fun. Each stands out in their unique way, whether it’s Venturini’s overly aggressive attitude, Quigley’s death fetishization, or Núñez’s emotional outbursts. Beverly Randolph is both adorable and hilariously out of place as the straightlaced Tina, and she gives it her all. In general, the actors are fantastic at taking this otherwise silly movie seriously.

    Like many great 80s horror films, the practical effects are a scene-stealer, showcasing why they will always be superior. The highlight is the iconic Tarman, played by Allan Trautman, whose gangly proportions and eerie movements make him instantly memorable. Another standout is the half-corpse created by Tony Gardner, who later worked on Army of Darkness, Freaked, and Hocus Pocus. For such a simple puppet, Gardner manages to bring it to life in a way that CGI cannot replicate. Also worth noting is William Stout’s excellent production design, from the cold industrial warehouse to the gothic cemetery scenery. The story’s bleak nature might deter some audiences, but that adds to the dark comedy. At roughly 90 minutes, the film maintains a brisk pace, never letting up, and remains enjoyable from start to finish. Overall, The Return of the Living Dead remains a hallmark of the zombie genre, even 40 years later.

     

    Buy The Return of the Living Dead from Amazon: https://amzn.to/44rJJvq.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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  • 28 Years Later (2025)

    28 Years Later (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]2002’s 28 Days Later, written by Alex Garland and directed by Danny Boyle, was both a critical and commercial success. On an $8 million budget, the film grossed over $82 million worldwide, in addition to winning numerous industry awards. Garland and Boyle were executive producers on 2007’s 28 Weeks Later, which was also critically and commercially successful. Over the years, Garland and Boyle discussed making a third film, but numerous delays put the project in development hell. It wasn’t until 2024, 17 years after the release of the second film, that a new installment entered production. Boyle’s longtime producing partner, Andrew Macdonald, bought the rights from Searchlight Pictures and sold them to Sony Pictures. With a $60 million budget, filming began in May around Northumberland, Yorkshire, and Cheddar Gorge before concluding in July. After premiering at Tyneside Cinema, 28 Years Later hit theaters worldwide in June 2025.

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    Synopsis

    Years after a viral outbreak infected most of continental Europe, the British Isles remain quarantined from the outside world. On the island of Lindisfarne, a community of survivors managed to stay alive by cautiously venturing onto the mainland. Amongst the survivors are Jamie (Aaron Taylor-Johnson), his ill wife, Isla (Jodie Comer), and their son, Spike (Alfie Williams). As part of a coming-of-age ritual, Jamie takes Spike into the mainland to kill his first infected, which goes sideways. Despite narrowly escaping several infected led by an Alpha, the village treats Spike like a hero, though he feels undeserving. Feeling disillusioned and wanting to prove himself, Spike sneaks out with his mother to find a doctor on the mainland. Along the way, they run into Erik (Edvin Ryding), a Swedish NATO soldier who reluctantly helps them before getting killed. Soon, Spike and Isla find Dr. Kelson (Ralph Fiennes), who agrees to help.

     

    Review

    Considering how long it took for this to come out, it’s surprising that 28 Years Later is pretty good. The film isn’t perfect, but for a sequel coming out nearly 20 years later, it’s a solid effort. Boyle and Garland managed to maintain the horror and heart that made the first film so influential. The duo also managed to find a child actor who stands head and shoulders above everyone else, which is shocking. That’s not to say the other actors are terrible, but newcomer Alfie Williams has a promising future ahead of him. He brings so much depth and emotion to the role that’s way beyond his years, and it’s incredible. Jodie Comer, who shone in 2021’s Free Guy, also delivers an excellent performance as Spike’s ill and mentally unstable mother. Aaron Taylor-Johnson is also effective as Spike’s well-meaning but flawed dad, struggling to keep the family together.

    To get into the aspects that bothered me, the biggest were some of the editing and directing choices made. During the first 15-20 minutes, old wartime footage and movie clips are thrown for seemingly no reason. I’m sure the filmmakers intended to draw parallels to World War II, but it comes across as random and sporadic. Additionally, there are these unusual slow-motion edits where an infected gets shot, the camera spins, and they fall. These moments feel like one of those early 2000s movies that tried to mimic the bullet-time scenes from The Matrix. Though these edits only occur in the first third, it makes you wonder if Danny Boyle still thinks it’s 2002. Lastly, without getting into spoilers, the ending comes completely out of left field and feels like a completely different movie. It doesn’t help that the ending only serves to set up the next installment.

    Some world-building elements aren’t fully explored and seem better in concept than in execution, such as the new infected types. In addition to the standard runners, there are also fat, slow-moving ones called “Slow-Lows,” and there’s the giant, super-evolved “Alphas.” Seeing these new types gives you more questions than answers, but the movie doesn’t explore how this evolution came about. Additionally, while the earlier films had political subtext that worked in tandem with the plot, this one is more overt. Even with its issues, this film still works as an exploration of whether humanity can survive in an apocalyptic setting. At slightly under two hours long, the movie has plenty of slow moments, but they never feel dragged out. While I’d say 28 Days Later is the stronger movie, this film is a worthy successor despite its conflicting tones. Overall, 28 Years Later is a solid apocalyptic thriller with heart.

     

    28 Years Later is in theaters.

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  • Friday the 13th Part VIII: Jason Takes Manhattan (1989)

    Friday the 13th Part VIII: Jason Takes Manhattan (1989)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Against a $2.8 million budget, Friday the 13th Part VII: The New Blood grossed $19.17 million, making it a disappointment. Despite this, Paramount Pictures decided to move forward, offering the director’s chair to first-time director Rob Hedden. Hedden asked if he could take Jason out of Crystal Lake, which series producer Frank Mancuso Jr agreed to. He decided to have Jason terrorize New York City, which excited Paramount, but they had reservations due to budgetary limits. To address this, Hedden rewrote the script so that the first two-thirds occurred on a boat before moving to NYC. Filming took place in British Columbia, with Vancouver representing New York, although they spent two days shooting in Times Square. Despite Paramount’s reservations, the film still had a $5 million budget, the biggest of any entry thus far. Jason slashed theater screens in July 1989 with Friday the 13th Part VIII: Jason Takes Manhattan.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#E09900″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    To celebrate their graduation, the senior class of Lakeview High School set sail aboard the SS Lazarus for New York. Chaperoning the trip are teachers Dr. Charles McCulloch (Peter Mark Richman) and Colleen Van Deusen (Barbara Bingham). Against Charles’ wishes, Colleen brings along his niece, Rennie Wickham (Jensen Daggett), to help her conquer her aquaphobia. Unfortunately, a newly resurrected Jason Voorhees (Kane Hodder) stows away on the ship just as they take off. It’s not long until Jason starts picking off the students one by one using glass shards, a guitar, and strangulation. Jason’s rampage starts a fire, forcing Charles, Colleen, and Rennie, alongside Sean (Scott Reeves) and Julius (V.C. Dupree), to escape. They manage to reach New York City, only for Jason to catch up with them and give chase. With our heroes running for their lives and Jason on the loose, New York has a new problem.

     

    Review

    Just on concept alone, Friday the 13th Part VIII: Jason Takes Manhattan should’ve been good. Rob Hedden even envisioned scenes at Madison Square Garden, the Empire State Building, the Brooklyn Bridge, and more. Sadly, Paramount’s tight purse strings wouldn’t allow his vision to become real, hence why “New York” looks like Vancouver. Granted, that’s just one of many issues with the movie, but it’s one I can’t entirely blame on the director. To his credit, Hedden does agree that more scenes should’ve been in New York instead of on a ship. Additionally, for a first-time director, he executes some decent shots, such as a “decapi-cam” camera and low-angle shots. Plus, there are some humorous touches, such as Jason running into street punks and the ironic nature of the kills. Examples include stabbing a cokehead with broken glass, bludgeoning a rocker with a guitar, and punching a boxer’s head off.

    Though not the strongest of the series’ female leads, Jensen Daggett does a decent job here. While the frumpy clothes aren’t doing her any favors, she at least brings a strong and vulnerable performance. Peter Mark Richman makes for a compelling antagonist, committing reprehensible acts while believing he’s acting in his niece’s best interest. Once again, Kane Hodder delivers as Jason and proves why he’s the best actor to don the hockey mask. He gives the slasher an imposing presence that towers over everyone, and his heavy breathing makes him scarier. Sharlene Martin is fun as the preppy cokehead, but she isn’t as entertaining as Susan Jennifer Sullivan in Part VII. It’s cool to see Kelly Hu years before she appeared in X2: X-Men United and The Scorpion King. Unfortunately, the rest of the cast isn’t anything to write home about in terms of performances.

    There isn’t much else to discuss, as this movie doesn’t bring anything new to the table aside from its setting. Even then, it doesn’t fully deliver since the first hour takes place on a cruise ship before arriving in NYC. Even if the alley scenes are filmed in Canada, the filmmakers strive to depict them like they’re in New York. That said, seeing Jason stomping through Times Square and hassling street punks is a series highlight. Another noteworthy aspect is the music, both the score and songs like “The Darkest Side of the Night” by Metropolis. Fred Mollin’s score is on par with Harry Manfredini’s work, and the songs are fun to listen to. As easy as it is to call this the worst one, it’s clear that the filmmakers tried, which is commendable. Overall, Friday the 13th Part VIII: Jason Takes Manhattan is sadly a low point.

     

    Buy Friday the 13th Part VIII: Jason Takes Manhattan from Amazon: https://amzn.to/4kC3plE.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Friday the 13th: Part VIII – Jason Takes Manhattan (1989)

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  • Final Destination (2000)

    Final Destination (2000)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Wanting to enter the industry, aspiring writer Jeffrey Reddick worked on a spec script for The X-Files titled Flight 180. However, the script went to New Line Cinema, who saw potential in adapting it into a feature film. Reddick rewrote the script as per New Line’s wishes, and they hired Glen Morgan and James Wong for further rewrites. Given the popularity of 1996’s Scream, the studio wanted to cast primarily young adult actors to cater to that market. They hired newcomers Devon Sawa, Ali Larter, Sean William Scott, Kerr Smith, Amanda Detmer, and Chad Donella for the leads. With a $23 million budget, filming took place around Long Island, Vancouver, Toronto, and San Francisco. Following various test screenings, many scenes and subplots had to be cut, and a new ending was filmed months later. Now retitled to Final Destination, the film hit theater screens in March 2000.

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    Synopsis

    A group of high school seniors is boarding an international flight to Paris when something unexplained happens. One of the students, Alex (Devon Sawa), has a vision of the plane exploding and tries to warn everyone. He starts causing a panic, so security removes him and several of his classmates from the plane, which explodes. Roughly a month after the crash, some of the survivors start dying under mysterious circumstances. Given his accurate predictions, FBI Agents Weine (Daniel Roebuck) and Schreck (Roger Guenveur Smith) deem Alex a prime suspect. With help from fellow survivor and love interest, Clear (Ali Larter), Alex tries to figure out Death’s plan. He discovers that Death is claiming the survivors in a specific order, so he tries to stop it. But what Alex soon discovers is that you can’t cheat Death, and Death will always find you.

     

    Review

    Even 25 years after its release, the original Final Destination still holds up as a fantastic horror film. While it may not be as over-the-top as its sequels, this movie still has some fun, elaborate kill sequences. What makes the scenes so enjoyable is seeing all the intricate steps that lead to the character’s ultimate demise. For instance, something as simple as a broken coffee mug can lead to a house catching fire and exploding. The film also features some simple death scenes interspersed to break up the monotony and provide a genuine shock. Though some are more obvious than others, the fact that they happen so suddenly makes them more shocking. Some are so sudden that it borders on being funny, which is fitting given some of the humorous touches. From background pictures foreshadowing the deaths to the use of a John Denver song, it’s cleverly morbid.

    What also elevates this movie above many others of its time is the characters, who are likable in some ways. Devon Sawa shines as the reluctant protagonist trying to save everyone and stop Death’s plan, only to be their undoing. Ali Larter is also great as the loner Clear, and she has excellent chemistry with Sawa. Kerr Smith makes for a great hateable jock who talks tough but shows weakness as the deaths pile on. Kristen Cloke is also great as Ms. Lewton, the adult figure racked with guilt over the deaths of her students. She and the other actors do a great job showing the anguish and remorse they feel over surviving the crash. Also, while he’s only in one scene, the late Tony Todd steals the show as the mortician, William Bludworth. His menacing voice and imposing presence elevate what otherwise is an exposition dump.

    Given that this movie came out a year before 9/11, watching the plane explosion now is unsettling. That said, it’s still an effective sequence, seeing how the suspense builds and builds until the sides blow out. Glen Morgan and James Wong do a great job of keeping the suspense going throughout and putting you on edge. Of course, none of this would be possible without Jeffrey Reddick’s original script, which helped launch an entire franchise. Admittedly, some of the humor clashes with the serious tone they’re trying to go for, but it isn’t awful. Plus, aside from Alex, Clear, Ms. Lewton, and Carter, the other characters exist just for cannon fodder. Granted, none of the characters are overly obnoxious, and the film moves at a solid pace. Overall, Final Destination still works thanks to its solid death sequences and a great mix of horror and humor.

     

    Buy Final Destination from Amazon: https://amzn.to/4ja8rEv.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Final Destination (2000)

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  • Daydreamers (2023)

    Daydreamers (2023)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Born in Saigon and raised in Sunnyvale, Timothy Linh Bui dreamed of being a filmmaker since childhood. After graduating from Columbia College Hollywood, Bui co-wrote Three Seasons with his brother, Tony Bui, in 1999. Bui made his directorial debut with 2001’s Green Dragon starring Patrick Swayze and Forest Whitaker. He also directed 2009’s Power Blue, which was Swayze’s final role before his untimely death in September of that year. Aside from directing, Bui also worked as a producer, having started the production company Happy Canvas Film in 2013. After relocating the company to Vietnam, Bui produced 2016’s The Housemaid and a Vietnamese version of The Bachelor. Following a substantial gap, Bui returned to directing with 2023’s Ngôi Mát Trời, the first Vietnamese vampire movie. After premiering at the 2024 Viet Film Festival, Dark Star Pictures acquired the distribution rights and retitled the film “Daydreamers.”

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    Synopsis

    Four hundred years ago, European vampires fled to Southeast Asia to escape persecution, spreading their curse to the locals. Cut to modern times, where vampires live by a strict law: live in darkness, leave no witnesses. In a remote fishing village close to Ho Chi Minh City, a group of vampires hope to regain their humanity. One of them is Nhat (Trang Ngoc Vang), who clings to this belief despite his doubts. He gets a visit from his older brother Marco (Thuan Nguyen), who shows him what the outside world is like. While Nhat rejects the thirst for blood, Marco revels in it and wants his brother to join him. Unfortunately, Nhat accidentally exposes his nature to a young girl named Ha (Trinh Thao), meaning she must die. With Marco and the vampire queen, Trieu (Chi Pu), hunting them, Nhat and Ha must work together to survive.

     

    Review

    Daydreamers feels both familiar and different, as it takes Western vampire tropes and adds Vietnamese sensibilities to the formula. You can tell Tim Bui drew influence from movies like The Lost Boys, Near Dark, and Interview with the Vampire. Here, it comes off less as a rip-off and more as taking familiar ideas and doing something unique with them. Going into this, I hadn’t seen any Vietnamese horror films before, so I didn’t know what to expect. If this movie is any indication, it seems that Vietnam is poised to have a thriving horror scene. Daydreamers is one of the most stylish, visceral, genre-bending horror films I’ve seen in quite some time. The filmmakers do a great job showcasing Ho Chi Minh City, from the dingy alleyways to the vibrant cityscapes. Cinematographer Nguyen K’Linh makes excellent use of color to accentuate the mood in a way few modern movies do.

    Trang Ngoc Vang gives a solid performance as Nhat, a reluctant vampire who yearns to be human again. He brings a level of vulnerability to the character that makes him sympathetic, especially when he tries to save Ha. Speaking of Ha, Trinh Thao brings a real toughness to her role, showing that she isn’t a damsel in distress. She has excellent chemistry with Vang, and it never feels like the movie forces them into a romance. Thuan Nguyen steals the show as Marco, who looks like a cross between Kiefer Sutherland’s David and Bill Paxton’s Severin. He has the right amount of swagger and chill viciousness that makes him instantly memorable. Chi Pu is both stunning and chilling as the vampire queen Trieu, even if her role feels underdeveloped. All in all, the cast does a phenomenal job, and I hope to see them in bigger movies.

    The action sequences are well-staged, featuring fast-paced editing and solid choreography that rivals the best of Hong Kong action movies. Seeing the actors flying around on wires, flipping and kicking, is always entertaining, despite the somewhat lackluster CGI. That’s probably my biggest gripe with the film: many of the digital effects are noticeable in a negative way. What’s worse is that there are some nicely done practical effects, which make the CGI even more evident. Additionally, the melodrama may be a bit too much for some audiences, but it suits the overall tone. The film deals with themes of family, brotherly love, redemption, betrayal, and what it means to be human. At slightly under two hours, the movie maintains a fast pace, but it never feels rushed to the end. Overall, even with its flaws, Daydreamers is a solid vampire film that horror fans will enjoy.

     

    Buy Daydreamers from Amazon: https://amzn.to/49Vcq6S.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Daydreamers (2023)

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  • Sinners (2025)

    Sinners (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]In early 2024, reports surfaced that Ryan Coogler of Creed and Black Panther fame had a new film in development. Once the news broke, a bidding war ensued with Sony Entertainment, Warner Bros., and Universal Pictures vying for distribution rights. Eventually, Warner Bros. won, agreeing to provide Coogler with a $90 million budget and complete creative control. Longtime collaborator Michael B. Jordan would play the lead, alongside Hailee Steinfeld, Wunmi Mosaku, Delroy Lindo, and newcomer Miles Caton. Under the working title Grilled Cheese, filming took place in New Orleans between April and July 2024. Coogler also brought in cinematographer Autumn Durald Arkapaw and composer Ludwig Göransson, both of whom he had previously worked with. The film was initially scheduled for release in March 2025, but it was postponed due to post-production issues. Now under the title Sinners, Coogler’s period piece horror film hit theaters in April.

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    Synopsis

    Set in Prohibition Era Mississippi, twin brothers Smoke and Stack (Michael B. Jordan) return home after spending time in Chicago. With the money they’ve earned, the twins decide to open a juke joint and plan to have a grand opening. Their younger cousin, Sammie (Miles Caton), agrees to play guitar at the joint despite warnings from his pastor father. Smoke and Stack also recruit piano player Delta Slim (Delroy Lindo) and singer Pearline (Jayme Lawson) to perform. Smoke rekindles his relationship with his estranged wife Annie (Wunmi Mosaku) while Stack deals with his ex Mary (Hailee Steinfeld). Despite some setbacks, the joint’s opening is a smashing success, with drinks overflowing and music swaying the crowd. Unfortunately, the music also attracts a group of vampires led by Remmick (Jack O’Connell), who wants to turn everyone. Who will survive the night, and who will become one of Remmick’s vampiric followers?

     

    Review

    Sinners was one of my most anticipated movies of 2025, and I’m happy to say that it exceeded my expectations. I’ve been a fan of Ryan Coogler for years, and this is easily one of his best movies. It’s exciting to see Coogler create his first original property, and for it to be as successful as it is. Admittedly, the film does bear more than a few similarities to From Dusk Till Dawn, but it’s not a rip-off. Aside from the fact that the leads are brothers, the vampires, and the isolated location, they are two distinct movies. I do not doubt that Coogler took inspiration from Robert Rodriguez’s crime thriller/vampire hybrid, but that’s where it ends. Sinners is strictly a Ryan Coogler film in all the best ways possible, retaining his trademark urban grit. Everything here works: the cast, the music, the setting, the story, and so on.

    Michael B. Jordan is so good as the SmokeStack twins that I forgot it was the same person playing both. He manages to make both brothers feel distinct enough that they feel like two different characters. Character actor Delroy Lindo steals the show as a drunken pianist, acting as a father figure to the twins. Wunmi Mosaku and Jayme Lawson also shine as Annie and Pearline, respectively, both adding a seductive charm. Hailee Steinfeld is another highlight as the part-black, part-white Mary, who relishes every line she delivers. Jack O’Connell is delightfully sinister as the vampire leader Remmick, acting more like a charismatic cult leader, ala Jim Jones. However, the real standout is newcomer Miles Caton, who, in addition to being a great musician, delivers a fantastic performance. Seeing him transition from a shy preacher boy to a confident young man to a shell-shocked survivor is astounding.

    Given the film’s Jim Crow era setting, there’s an obvious racial allegory about whites infecting the black community. Thankfully, Coogler is a masterful enough filmmaker that the message is woven into the story rather than the central focus. Of course, vampires have traditionally symbolized the other, something foreign and unknown, tainting the status quo like a disease. Here, it’s almost flipped on its head, where the marginalized groups are the ones tainted by the predominantly white society. The music further develops this message, combining classical blues with more modern sensibilities in an organic way. My only major complaint is that the filmmakers could’ve trimmed some scenes to reduce the runtime, but it’s a stretch. Otherwise, this is a beautifully crafted, well-acted genre blend that more than deserves its acclaim. Overall, Sinners is not only Ryan Coogler’s best film, but it’s also one of the best movies of 2025.

     

    Buy Sinners from Amazon: https://amzn.to/4pwUiEF.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Sinners (2025)

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  • Leprechaun 2 (1994)

    Leprechaun 2 (1994)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Despite primarily negative reviews, 1993’s Leprechaun was a surprise hit, grossing $8.5 million on a $900,000 budget. Trimark Pictures wanted a sequel right away, but the original’s writer/director, Mark Jones, went off to make Rumplestilskin. For the sequel, Trimark hired relative newcomer Rodman Flender, who made his debut directing The Unborn for Roger Corman. Aside from Warwick Davis, none of the original cast returned, so this sequel became more of a reboot. With a slightly higher budget of $1.5 million, filming lasted 18-21 days in and around Los Angeles. Despite going overschedule and shooting late into the night, production went off relatively well, and everyone got along. After the original’s success, the studio hoped that they’d be able to strike gold again with a theatrical sequel. Roughly a year after the first one, Leprechaun 2 made its way onto screens in April 1994.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”55″ bar_bg_color=”#EDF000″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    In ancient Ireland, Lubdan the Leprechaun (Warwick Davis) seeks a bride to celebrate his 1,000th birthday. He promises to free his servant, William O’Day (James Lancaster), once married, except Lubdan’s intended bride is O’Day’s daughter. While O’Day manages to stop him, Lubdan vows to marry one of O’Day’s descendants on his 2,000th birthday. Cut to 1990s Los Angeles, where Lubdan sets his sights on O’Day’s descendant, Bridget Callum (Shevonne Durkin). She’s unhappy because her boyfriend, Cody Ingalls (Charlie Heath), is focused more on his work than her. Cody and his drunken boss Morty (Sandy Baron) run a haunted tour that’s scamming people hoping to see celebrity gravesites. Soon, Lubdan goes on a killing spree as he tries to abduct Bridget and make him his bride. Will Cody step up and save his girlfriend, or will Lubdan finally get his bride?

     

    Review

    Say what you will about the first Leprechaun, but at least it had an undeniable charm. The filmmakers put in more effort than you’d expect for a low-budget horror-comedy about a killer leprechaun. Sadly, Leprechaun 2 lacks the energy and fun that the original had, though it isn’t entirely awful. As with the first film, Warwick Davis is the highlight of the movie and the main reason to watch. You can tell he’s having a blast playing this character, and Gabe Bartalos’ makeup effects are still top-notch. There are also some fun gags here, including a guy hallucinating that a twin-bladed lawnmower is the lead actress’s breasts. Plus, seeing character actors like Clint Howard, Kimmy Robertson, Tony Cox, Billy Beck, and Michael McDonald is a treat. Also, The Leprechaun’s layer is a nifty bit of production design, even if there are some prominent styrofoam rocks.

    Sadly, the rest of the movie is dull and uninteresting, not helped by the lackluster leads. Shevonne Durkin, who coincidentally appeared in Tammy and the T-Rex that same year, can’t act to save her life. She might be pretty, but her delivery is so flat that it makes you appreciate Jennifer Aniston in the original. It doesn’t help that Charlie Heath is a wet blanket as her boyfriend, Cody, who’s uninteresting and bland. It’s the typical “guy who’s too focused on work neglects his love interest” storyline we’ve seen hundreds of times. Sandy Baron has funny moments as Cody’s drunken boss, Morty, like him exploiting the “30 minutes or free” pizza rule. There’s also a cool effect where he wishes for The Leprechaun’s gold, and the pot grows in his stomach. Unfortunately, little moments like that can’t save an otherwise dull movie.

    I know it seems like I’m expecting too much from a movie called Leprechaun 2, but I’m not. I only want a goofy, occasionally creepy, killer leprechaun movie, and I barely got that watching this. To the film’s credit, Rodman Flender’s direction isn’t too bad, and he does throw in some creative touches. There’s some foggy scenery, the aforementioned underground layer, and some colored lighting added to create an eerie mood. Plus, having The Leprechaun’s layer in Harry Houdini’s old house has tons of potential that sadly gets wasted. For as much fun as the cast and crew had, it’s a shame the audience won’t experience that same feeling. Even at slightly under 90 minutes, the pacing drags, and the movie feels longer than it is. Overall, Leprechaun 2 isn’t the worst sequel, but it’s a step down from the original, which wasn’t that good either.

     

    Buy Leprechaun 2 from Amazon: https://amzn.to/4bMWjaE.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Nosferatu (2024)

    Nosferatu (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]In 1922, F. W. Murnau’s Nosferatu: A Symphony of Horror, an unofficial adaptation of Dracula, opened in German theaters. Despite a lawsuit from Bram Stoker’s heirs demanding the film be destroyed, several prints survived, and the film became a classic. In 1979, Werner Herzog remade the movie as Nosferatu the Vampyre, starring Klaus Kinski and Isabelle Adjani. In 2015, Robert Eggers announced he’d be working on a remake, though he had reservations about redoing a beloved classic. While Daniel Day-Lewis, Willem Dafoe, and Mads Mikkelsen were considered, Bill Skarsgård ultimately won the role of Count Orlok. Dafoe joined the cast alongside Lily-Rose Depp, who replayed Anya Taylor-Joy, Nicholas Hoult, Emma Corrin, and Aaron Taylor-Johnson. With a $50 million budget, filming lasted between February and May 2023 in and around Prague and Romania. After its Berlin premiere, Nosferatu opened on Christmas Day 2024.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Estate agent Thomas Hutter (Nicholas Hoult) is commissioned by his employer, Herr Knock (Simon McBurney), for a special assignment. He must travel to the Carpathian Mountains to visit the reclusive Count Orlok (Bill Skarsgård) and finalize a land deal. Despite the warnings of his wife Ellen (Lily-Rose Depp), Thomas ventures forth while she stays with Friedrich Harding (Aaron Taylor-Johnson). Upon arrival, Orlok makes Thomas his prisoner in his castle, keeping him locked away as he plans his journey. Back home, Ellen has been suffering from seizures and night terrors, which perplexes her doctor, Wilhelm Sievers (Ralph Ineson). Sievers consults his mentor, Albin Eberhart Von Franz (Willem Dafoe), and he explains that Ellen is under Orlok’s control. Soon, Orlok arrives, bringing plague rats that quickly ravage the town while Thomas stumbles his way back. Will Count Orlok be vanquished, or will he claim Ellen as his own?

     

    Review

    Robert Eggers’ Nosferatu is a fantastic update to the groundbreaking silent classic and one of the best movies of 2024. Although I’m not usually a fan of remakes, there have been great ones, such as John Carpenter’s The Thing. Thankfully, this third version of the vampire classic joins the ranks of other masterful reimaginings. Unlike remakes that come off as attempts to capitalize on nostalgia, you can tell that Eggers enjoyed making this. He masterfully directs the film, creating a foreboding sense of dread that never lets up from start to finish. From the contrasting light and darkness to the use of shadows, it’s nothing short of spectacular. Working alongside regular cinematographer Jarin Blaschke and production designer Craig Lathrop, Eggers creates an elegantly dark and gothic look. Combined with the fantastic locations in Prague and Romania, there’s a grotesque beauty to every scene.

    Lily Rose-Depp gives an incredible performance, playing it in an understated yet emotional way that feels real. Nicholas Hoult also excels at conveying the fear that Orlok brings, and you believe in his relationship with Rose-Depp. Bill Skarsgård shines as Count Orlok, his imposing presence and booming voice towering over everyone, even when he’s not there. Whether it’s causing Ellen’s seizures or bringing the plague, Orlok is still a threat while off-screen. Some fans might bemoan the difference in appearance between this version and the original Orlok, but the spirit remains intact. Aaron Taylor-Johnson and Emma Corrin are also great as the skeptical yet supportive Friederich and Anna Harding. Like always, Willem Dafoe excels as the occult expert who can deliver expository dialogue captivatingly. All in all, the cast does an incredible job of delivering centuries-old dialogue that most actors would struggle with.

    While most modern vampire movies try to humanize the creatures, this one reintroduces the more monstrous side of earlier versions. There is no human quality in Orlok; instead, it is a facade masking the monster that lies within. The fact that this movie shows Orlok killing children indicates that Eggers isn’t concerned with displaying Orlok’s human qualities. The film moves at a deliberately slow pace punctuated by shocking moments that last long enough to be effective. Adding to this pacing is the minimalist score by Robin Carolan, which is both understated and haunting. At slightly over two hours long, there is never a dull moment, and every scene feels deliberate. This film is one of those rare cinematic experiences that sticks with you long after you’ve left the theater. Overall, Nosferatu is another home run for Eggers, punctuated by excellent direction, great performances, and a gripping story.

     

    Nosferatu is currently in theaters.

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  • Don’t Open Till Christmas (1984)

    Don’t Open Till Christmas (1984)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]After working on the American release of 1970’s Mark of the Devil, producer Stephen Minasian focused on horror. He helped Sean Cunningham and Wes Craven with The Last House on the Left and funded Friday the 13th. Minasian met producer Dick Randall soon after and co-produced 1982’s Pieces, which began an eventual partnership. Seeing how popular slashers were, Minasian wanted to make two based on holidays: April Fool’s Day and Christmas. Randall offered Edmund Purdom the lead in the Christmas slasher, which he accepted if he got to direct. Filming started in December 1982, but issues quickly arose due to disagreements between Purdom and Randall. Purdom quit the production, so writer Derek Ford took over, only to be replaced by editor Ray Selfie. After two years of reshoots, recastings, and re-editing, Don’t Open Till Christmas finally hit theaters in December 1984.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    On the dreary streets of London, someone in a green jacket and creepy mask is killing people dressed as Santa. Chief Inspector Ian Harris (Edmund Purdom) and Detective Sergeant Powell (Mark Jones) are hot on the case. They interview Kate Briosky (Belinda Mayne) and her boyfriend, Cliff Boyd (Gerry Sundquist), after witnessing her father’s murder days earlier. During all this, a stranger named Giles (Alan Wake), who claims to be a reporter, asks about the murders. Soon, a stripper named Sherry Graham (Kelly Baker) gets kidnapped by the killer after witnessing him murder another Santa. To make matters worse, Kate learns that Harris is no longer on the case, so she does some investigating. After checking a mental hospital that Harris visited, she discovers that the killer had been committed and is Harris’ brother. But who is the Santa slasher, and will his rampage be stopped?

     

    Review

    Due to numerous production problems, Don’t Open Till Christmas is a mess but enjoyable nonetheless. Interestingly, this film came out around the same time as Silent Night, Deadly Night but wasn’t nearly as controversial. If anything, it’s much more graphic and sleazy than Charles Sellier, Jr.’s slasher, with almost the opposite plot. For one, nearly every Santa shown is drunk or perverted, either peeping through windows or going to a peep show. Plus, most violent sequences occur in back alleys, public restrooms, or the London Dungeon, adding a layer of grime. A prime example is when Pat Astley wears a Santa coat and a thong while chased by the killer. Also, the kills are much more mean-spirited here, with Santas set ablaze, stabbed repeatedly, shot point blank, and even castrated. If parents complained about Billy impaling a woman on deer antlers, they’d have a field day with this.

    While the performances are decent overall, they’re nothing special besides a few standouts, namely Purdom and Lake. Though he disappears during the middle, Edmund Purdom brings a level of class to the film. Alan Lake also does a great job playing a menacing creep who perfectly plays his insanity in an understated way. He doesn’t constantly mug for the camera or go too over the top but instead plays it quietly and subdued. Belinda Mayne makes for a decent heroine, even if there isn’t much to her character. What’s strange is that you’d think she’d be the final girl, but it ends up being Kelly Baker’s experience girl. As for the rest of the cast, they do their jobs fine enough but don’t expect any Oscar-worthy performances. However, scream queen Caroline Munro does have a cameo as herself, which is always appreciated.

    Even without knowing the production history, you can tell that something went wrong with the movie’s structure. Characters are introduced as if they will play a significant role, only to vanish with a one-line explanation. Plus, given Purdom left the production, the other characters have to explain what the lead is doing off-screen. Between the scenes of Santa’s being murdered, most of the runtime consists of dialogue that goes on for too long. Even at 86 minutes, the movie feels padded with filler scenes that could’ve easily been excised. Despite how much of a mess this film is, it’s still enjoyable, mainly for the kills and the sleaze. Also, this movie has such an out-of-nowhere ending that you’ll never see coming, which makes it worth watching. Overall, Don’t Open Till Christmas is less of a long-lost classic and more of an interesting curiosity.

     

    Buy Don’t Open Till Christmas from Amazon: https://amzn.to/49PzhyR.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Don’t Open Till Christmas (1984)

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