An infected, reanimated corpse spreads the infection and mutates its victims, creating even more human monsters.
Directed by David Irving, this very loose sequel to C. H. U. D. often feels more like a Return of the Living Dead sequel, and probably could have made a good one with a few tweaks, a proper night-time setting and more convincing zombie effects. As it stands, it shares little with its grounded, grimy 1984 predecessor - there are no sewer dwellers here.
Tricia Leigh Fisher is memorable as Katie, alongside Brian Robbins as Steve Williams and Bill Calvert as Kevin. Robert Englund also makes a blink-and-you'll-miss-it cameo. Gerrit Graham is solid and reliable in the lead role of Bud, while Robert Vaughn knows exactly what kind of film he is in. But you know something is up when a mutant zombie dog steals the show.
The night scenes are far too well lit, while the abundance of daytime sequences strips away much of the creepy atmosphere. Instead, it often plays like The Cannonball Run crossed with an episode of The A-Team, with a hint of Return of the Living Dead Part II, Dead Heat and Re-Animator thrown into the mix.
It is more of an infected-zombie film than a true toxic mutant C. H. U. D. follow-up, even referring to its creatures as zombies and the living dead.
Sadly, it really jumps the shark in the closing moments with a tacked on ending, although you do get a left-field cameo from Bianca Jagger, and the soundtrack is pretty good throughout.
Overall, as a sequel, it fails miserably. As a zombie film, it falls short of Return of the Living Dead Part II. However, some enjoyment can still be found if viewed as a standalone film, thanks largely to its likeable leads and 80s nostalgia.
Unlikely heroes get caught up in toxic waste leaking into the New York City sewers that transforms homeless people into cannibalistic monsters.
Director Douglas Cheek does his best with the limited budget, delivering a straight-faced creature feels like a time capsule with its 80s dirty streets, shadowed manholes and that unmistakable underground dampness. Peter Stein's cinematography captures the grime and grit effectively, while the electronic score by David A. Hughes, credited as Cooper Hughes, adds a chilly, synthetic pulse that heightens the unease.
Much of the action happens off-screen, with rubber clawed hands, and sound doing a lot of the heavy lifting-growls, scrapes and sudden violence are often more suggested than shown. When the creatures do appear, they are few and far between and a little rubbery around the edges, yet the talented John Caglione Jr's (Basket Case, Poltergeist III and many more) design has its moments, particularly their glowing eyes. The gore effects (severed heads and body parts) and stunts pack some genuine punch for the money, and the film plays its monster-movie beats without a hint of irony.
The vibe and story sit comfortably alongside Neon Maniacs and Alligator, carrying a touch of Jaws-style institutional cover-up and The Toxic Avenger's low-rent political edge, with its focus on a forgotten underclass.
Daniel Stern steals the show as A. J. the soup kitchen owner. The late John Heard, Kim Greist, and Christopher Curry give the material more weight than it strictly deserves. Also John Goodman appears in an early role as a cop.
The pacing and plot is a little loose and plodding. Still, for cheap thrills and pure nostalgia value, C. H. U. D. delivers a grubby, atmospheric slice of 1980s creature horror.
A hardened military reconnaissance squad are sent back into the unforgiving jungles of Vietnam but find themselves surrounded by prehistoric predators.
Written and directed by Luke Sparke, and adapted from Ethan Pettus's novel, the film is an impressively high-concept production. Sparke's contribution is all the more remarkable given the number of hats he wears here: director, writer, producer, editor and production designer. Whatever its imperfections, there is no denying the scale, ambition and sheer effort involved in bringing such an unlikely dinosaur war picture to the screen.
The cast provides the necessary backbone. Ryan Kwanten leads confidently as Sergeant Baker, while Tricia Helfer is equally welcome as Sofia, although it is difficult not to wonder why her natural accent could not have been incorporated as part of the character's cover. The supporting cast of create the feeling of a genuine military unit rather than simply a collection of disposable action-film soldiers. That said, the writing really pushes the 'likeable Platoon' characters too hard. Jeremy Piven also makes his presence felt as Colonel Amadeus Jericho.
Visually, Primitive War is something of a mixed bag, but often an impressive one. For the most part, the special effects work remarkably well, particularly considering the scale of what Sparke and his team are attempting. This is certainly a considerable step above the bargain-basement creature features associated with The Asylum, although it would be unfair to suggest it reaches the extraordinary technical standards of Industrial Light & Magic's Jurassic Park outings...
Then again, that comparison rather misses the point. Credit must be given for the sheer determination and ambition behind the production. There are moments when the dinosaurs genuinely convince, alongside others where the limitations inevitably show.
A tighter edit might have helped, trimming some of the less convincing effects rather than lingering on them, while greater discipline with the pacing could have maintained momentum throughout.
The music is another considerable strength, adding weight, atmosphere and a welcome sense of cinematic scale, particularly during the action sequences.
There is a genuinely good film at the heart of Primitive War, and perhaps that is why its occasional shortcomings are more noticeable. With a little more time, a larger budget and another pass in the editing room, Sparke might have had something truly exceptional on his hands.
As it stands, Primitive War remains an enjoyable and admirably ambitious ride, made with an obvious enthusiasm for dinosaurs, war movies and old-fashioned creature-feature spectacle. It may not always hit its target, but you cannot fault Luke Sparke and his team for taking the shot.An admirable ambitious dino ride.
Dr Larry Roberts, a plastic surgeon whose beautiful modelling clients begin dying under mysterious circumstances. When suspicion turns towards him, Roberts is drawn into a sinister world where technology, corporate greed and the manipulation of human desire collide.
Michael Crichton's Looker is one of those early-1980s thrillers whose ideas have grown more relevant with time. Beneath its glossy Beverly Hills surface lies a sharp examination of beauty, wealth, advertising, celebrity and the entertainment industry's relentless pursuit of physical perfection. Written and directed by Crichton, the film feels remarkably ahead of its time. Its observations on manufactured beauty, image manipulation and the commercial exploitation of appearance read as prophetic in an era of digital enhancement, artificial intelligence and ever more impossible standards of perfection.
The glamorous world is filled with striking characters-Susan Dey's Cindy Fairmont, Leigh Taylor-Young's Jennifer Long, Kathryn Witt's Tina Cassidy, Terri Welles's Lisa Convey, Ashley Cox's Candy, Donna Kei Benz's Ellen and Catherine Parks's Jan-yet Crichton treats that beauty as part of the commentary. Perfection is not merely admired; it is commodified, analysed and treated as something that can be owned.
Albert Finney is excellent as Larry Roberts, bringing intelligence and humanity rather than conventional leading-man glamour. He feels grounded amid the artificial surroundings, which is precisely why he works so well. Dey gives Cindy warmth and vulnerability; James Coburn is smooth and imposing as the powerful John Reston. Both Dorian Harewood and Tim Rossovich are memorable.
Crichton's direction is confident and stylish, blending science fiction, conspiracy thriller and Hollywood satire with impressive practical action. The stunt work stands out, particularly the spectacular balcony falls-one of them into a car-that still carry real impact. There is a physicality here that modern digital spectacle often lacks. Real-world locations and thoughtfully designed sets, complete with interesting futuristic touches, are immersive.
The concepts remain the film's strongest suit. Crichton understood the dangers of technology becoming inseparable from commerce and entertainment long before digital imagery became everyday reality. Some transitions and visual techniques now show their early-1980s origins, yet the ideas behind them stay startlingly modern.
Looker may not always receive the recognition of Crichton's better-known work, but it deserves rediscovery: an intelligent, glamorous and surprisingly prophetic science-fiction thriller with something genuine to say about high society, the modelling industry and the machinery of entertainment.
Watching Susan Dey today, one is struck by certain similarities of look and presence to Cara Delevingne; a contemporary remake with Delevingne in the central role could prove intriguing if handled with the same mix of style and satirical edge.
A stylish, thought-provoking glimpse into a future that, in many ways, has already arrived. Recommend and well worth checking out.
Dr Larry Roberts, a plastic surgeon whose beautiful modelling clients begin dying under mysterious circumstances. When suspicion turns towards him, Roberts is drawn into a sinister world where technology, corporate greed and the manipulation of human desire collide.
Michael Crichton's Looker is one of those early-1980s thrillers whose ideas have grown more relevant with time. Beneath its glossy Beverly Hills surface lies a sharp examination of beauty, wealth, advertising, celebrity and the entertainment industry's relentless pursuit of physical perfection. Written and directed by Crichton, the film feels remarkably ahead of its time. Its observations on manufactured beauty, image manipulation and the commercial exploitation of appearance read as prophetic in an era of digital enhancement, artificial intelligence and ever more impossible standards of perfection.
The glamorous world is filled with striking characters-Susan Dey's Cindy Fairmont, Leigh Taylor-Young's Jennifer Long, Kathryn Witt's Tina Cassidy, Terri Welles's Lisa Convey, Ashley Cox's Candy, Donna Kei Benz's Ellen and Catherine Parks's Jan-yet Crichton treats that beauty as part of the commentary. Perfection is not merely admired; it is commodified, analysed and treated as something that can be owned.
Albert Finney is excellent as Larry Roberts, bringing intelligence and humanity rather than conventional leading-man glamour. He feels grounded amid the artificial surroundings, which is precisely why he works so well. Dey gives Cindy warmth and vulnerability; James Coburn is smooth and imposing as the powerful John Reston. Both Dorian Harewood and Tim Rossovich are memorable.
Crichton's direction is confident and stylish, blending science fiction, conspiracy thriller and Hollywood satire with impressive practical action. The stunt work stands out, particularly the spectacular balcony falls-one of them into a car-that still carry real impact. There is a physicality here that modern digital spectacle often lacks. Real-world locations and thoughtfully designed sets, complete with interesting futuristic touches, are immersive.
The concepts remain the film's strongest suit. Crichton understood the dangers of technology becoming inseparable from commerce and entertainment long before digital imagery became everyday reality. Some transitions and visual techniques now show their early-1980s origins, yet the ideas behind them stay startlingly modern.
Looker may not always receive the recognition of Crichton's better-known work, but it deserves rediscovery: an intelligent, glamorous and surprisingly prophetic science-fiction thriller with something genuine to say about high society, the modelling industry and the machinery of entertainment.
Watching Susan Dey today, one is struck by certain similarities of look and presence to Cara Delevingne; a contemporary remake with Delevingne in the central role and a few tweaks could prove intriguing if handled with the same mix of style and satirical edge.
A stylish, thought-provoking glimpse into a future that, in many ways, has already arrived. Recommend and well worth checking out.
LAPD detectives Roger Mortis (Treat Williams) and Doug Bigelow (Joe Piscopo) investigate a wave of violent armed robberies carried out by reanimated corpses; when Mortis is killed in the line of duty he is briefly brought back to life and given a short window before decomposition sets in to solve his own murder and shut down the scheme.
Directed by Mark Goldblatt. Riding the coat-tails of fish-out-of-water buddy-cop hits such as Lethal Weapon (1987) and its near-namesake Red Heat (1988), Goldblatt's film delivers charmingly practical 1980s special effects and excellent make-up work. It never pulls its punches on the stunts or the gore, while the on-location shooting around Los Angeles with cinematography by Robert D. Yeoman gives the undead antics a gritty, atmospheric lift along with Ernest Troost's score.
Terry Black's script is hokey at times, yet several one-liners land cleanly and in amongst the shootouts, the central idea remains intriguing from the outset. The mortality theme hits harder than expected.
The cast is a real strength, with several familiar supporting faces including prolific actor Darren McGavin. The late great Treat Williams brings his customary straight-faced likeability as the determined Mortis; Joe Piscopo (a mini-Schwarzenegger in attitude if not quite in stature) is good fun as the wisecracking partner; Lindsay Frost is memorable and does solid work with the material she is given; and Clare Kirkconnell steals every scene she appears in with natural presence and believability as Dr Rebecca Smythers. Star Trek's Robert Picardo and Gremlins' Keye Luke also feature, alongside a welcome cameo from acting legend Vincent Price. Return of the Living Dead's Linnea Quigleyappears as an uncredited Go-go dancer along with writer director Shane Black as a motorcycle patrol man.
Overall, a bumpy but enjoyable lively buddy-cop zombie comedy ride thanks to the entertaining concept, 80s charm and special effects.
A college class called Psychology of Fear is taken over by a gun threatening teacher who insists on demonstrating the true meaning of fear; he invites a group of students to his house, where stories are told.
Not to be confused with After Hours (1985) or The Midnight Hour (1985), this modest American horror anthology was written and directed by brothers Jim and Ken Wheat (collaborators on The Fly II and A Nightmare on Elm Street 4: The Dream Master). Cinematography is by Phedon Papamichael, with music by Marc Donahue. It features three main stories framed by a wraparound narrative (a fourth "filler" segment), and while it never reaches the heights of Creepshow, Creepshow 2, Tales from the Darkside: The Movie or the later Trick 'r Treat, it remains more entertaining than most of its kind.
The segments include an elaborate haunted-house prank that goes disastrously wrong in "The Old Dark House", starring Munchies and Critters actress Nadine Van der Velde as Joan and Back to the Future actor Marc McClure as Kevin; this is the most atmospheric of the tales.
"A Night on the Town" follows four young women who run into a deranged homeless man and his vicious attack dogs. The memorable female leads are Judie Aronson (Friday the 13th: The Final Chapter) as Jennifer, Tracy Wells as Amy, Penelope Sudrow (A Nightmare on Elm Street 3: Dream Warriors) as Kelly, and Monique Salcido as Lisa. It has a strong urban-nightmare feel and excellent dog work.
In "All Night Operator", Alan Rosenberg is genuinely menacing as Richard, a celebrity stalker who terrorises night-shift operator Alex, played by Marg Helgenberger (CSI). Helgenberger carries the segment with real screen presence; it is tense and grounded.
Bookending the film is "Allison's Story", a jock's vengeance tale with a loop twist. Stand-outs are the intense Professor Edward Derek (Ramy Zada) and Jillian McWhirter as Allison (a pity she did not go on to more high-profile work), alongside famed voice actress Pamela Adlon (credited as Pamela Segall, later of Gate II) as Cheryl.
The 80s nostalgia and on location feel helps sell much of the on screen shenanigans. There are solid stunts throughout, the practical effects and pyrotechnics deserve a mention. Although the special effects are sparse, the film does feature a brief, impressive stop-motion skeleton in the closing act.
Overall it is all good fun, though never particularly scary, which is surprising given the now horror faces involved.
Spider-Man must stop a mysterious villain who, unlike everyone else, cannot enter his mind—while he undergoes profound changes of his own.
Tom Holland once again proves why he is one of the finest live-action Spider-Man since Nicholas Hammond first donned the mask in the 1970s. Carrying the emotional weight of Peter Parker with warmth, vulnerability and quiet determination, Holland delivers his strongest performance yet.
Director Destin Daniel Cretton brings genuine heart to the FX spectacle, packed with nods and also some more obscure comic callbacks. Writers Chris McKenna and Erik Sommers craft a story that embraces Spider-Man's comic-book roots, with the welcome inclusion of several beloved Marvel characters including Hulk and Punisher, to name a few. They have purpose and are not just slotted in. That said, there are many villain cameos thrown in for good measure from the get go, to show how hard Spider-man has been working.
Sadie Sink is excellent throughout, with her seemingly effortless screen presence. Zendaya and Jacob Batalon continue to shine as MJ and Ned, their chemistry with Holland remaining one of the franchise's greatest strengths, while Florence Pugh steals every moment with her extended cameo.
The action scenes feel few and far between, playing out with dot-to-dot, The Fallen, The Hidden and Jason Goes to Hell type vibes. And the bigger set-ups, including the Hulk and Scorpion have very little pay off. The stakes feel all left for the final act.
That said, Brand New Day is an emotional, often heartbreaking chapter that earns more than a few tears. Yet, at two hours and twenty-five minutes, it occasionally overstays its welcome. As with many Marvel productions, it suffers from a little too much padding between its strongest moments. But what about an adaptation of Spider-Man and His Amazing Friends next?
Overall, it's an entertaining, heartfelt adventure. Recommended.
Following the Baron Frankenstein's death at the hands of his murderous creation, Tania, his daughter, and his assistant, Dr Charles Marshall, continue the experiments, with just as much murderous intent as the roaming mindless creature.
There's something intriguing about Lady Frankenstein. Directed by Mel Welles, with Aureliano Luppi also credited as co-director, this 1971 slice of Euro-horror has Hammer vibes running through its veins, from its gothic settings and elaborate interiors to its deliciously macabre obsession with death, resurrection and the human body. Also, on all accounts, extra credit should be given to cameraman Riccardo Pallottini, who added those nice lightings; for instance, he used to place the camera, then he waited for the director; he also solved technical problems and so forth.
Joseph Cotten is terrific as Baron Frankenstein, and his limited presence is a poignant reminder of just what a sorely missed actor he is. Rosalba Neri, meanwhile, absolutely steals the show as his daughter, Tania Frankenstein. Those smoky eyes, perfect eyebrows and immaculate eyelashes barely conceal a deliciously cold and manipulative streak. Neri gives the film its real spark, turning Tania into an alluringly sinister successor to her father's work.
Renate Kasché (Renata Cash) as Julia Stack, Thomas's sister, is sadly slightly wasted. Herbert Fux as Tom Lynch, the graverobber, is memorable. Mickey Hargitay as the investigator Captain Harris does his best with what he is given. Paul Muller is notable as Dr Charles Marshall, along with Marino Masé in a dual role (as Peter Whiteman) as Thomas Stack.
Tania and Charles's increasingly grisly solution leads to the film's most intriguing idea, a brain-transplant/body-swapping subplot that ultimately takes centre stage over actor Riccardo Pizzuti's hulking, lumbering Creature.
There are plenty of kills, some suitably grisly effects and a creature design that viewers will either embrace or absolutely hate.
The pacing can be a little slow getting there, but once Lady Frankenstein finds its rhythm, it pays off. The settings and sets are excellent, too, giving the whole affair that unmistakable Hammer-adjacent atmosphere.
It also shares some DNA with Hammer's The Vampire Lovers and Blood from the Mummy's Tomb; there's something particularly unsettling about placing a female protagonist at the heart of the horror and allowing her to become the real source of danger. Neri embraces that darker side beautifully.
The score by Alessandro Alessandroni is effective but surprisingly sparse; a few more musical cues might have given some sequences an additional jolt of atmosphere. And despite its reputation as an especially raunchy piece of Euro-horror, the nudity is relatively restrained by the standards of its reputation, and is arguably more tasteful and satisfying than Andy Warhol's Flesh for Frankenstein (1973).
Like many other films of the time, it ends abruptly, even if on a fiery, nudity-driven final moment, but Lady Frankenstein is an underrated little gem... atmospheric, strange, occasionally sleazy and considerably more entertaining once its various pieces finally fall into place.
There's plenty here for the old-school horror fan to enjoy. Recommended.
Grace (Samara Weaving) is forced back into the nightmare as she fights to protect her estranged sister (Kathryn Newton), with both women hunted by five elite families in a deadly ritual to claim a seat of ultimate power.
Directors Matt Bettinelli-Olpin and Tyler Gillett keep the pace relentless, serving up inventive kills, dark humour and plenty of gloriously gory action.
In Halloween, Friday the 13th and Evil Dead fashion it picks up exactly where its predecessor left off. They deliver exactly what fans of the original will be hoping for: a blood-soaked, fast-paced return to a world where wealth, power and ritual collide in spectacularly violent fashion.
The cast is excellent throughout. Samara Weaving's Grace is a compelling modern horror heroine, balancing vulnerability, grit and razor-sharp wit. Kathryn Newton is immediately likeable as Grace's sister, giving an emotional core genuine weight. Elijah Wood brings a memorable unsettling charm to his role. Sarah Michelle Gellar and Shawn Hatosy are both superbly menacing, and Kevin Durand steals a few laughs with a brief cameo.
Written by Guy Busick and R. Christopher Murphy, the sequel expands the mythology in interesting ways. However, despite broadening the lore, it never quite recaptures the novelty or satisfying twist that made the first film such a standout film.
Nevertheless, Ready or Not 2 is an entertaining, horror ride, recommend for Samara Weaving performance and the supporting cast alone.
Fiery Supergirl blasts across alien worlds with a snarling Lobo at her side, guarding a mysterious refugee while battling cosmic threats and her own past.
There's nothing wrong with Craig Gillespie's well directed Supergirl; it's just everyone’s Supergirl. It would even feel different if it didn't play out the beats and greatest hits of Guardians of the Galaxy. But if you wanted an extension or rework of the 1984 Helen Slater film, you may be disappointed.
Milly Alcock is dynamic in the lead role and feels like a Supergirl rather than Superwoman. She carries the film effortlessly. Jason Momoa is solid as Lobo. The bland stereotype bad guys and young girl out for revenge are what you’d expect, yet, thankfully a little more menacing than most.
I'm not familiar with the Supergirl: Woman of Tomorrow comics, so I can't comment on whether it's a good adaptation or not.
A few iffy special effects aside, the production is pretty slick and well made. The flashbacks, work especially well, and are not merely misplaced (unlike some recent Star Wars Disney shows). The inclusion of Superman/Clark isn't overdone and feels fitting. And hopefully an Earth-set solo Supergirl adventure is still still come.
There are aliens and different planets, yes - it borrows from the best sci-fi, even Blade Runner in terms of some set design. Action poses and explosions come straight out of Transformers and Die Hard. At times it feels a little Marvel-like, but thankfully it's not bloated and padded. Edited by Tatiana S. Riegel and Fred Raskin, it's fast-paced and never boring.
They said, even with director Gillespie's (Fright Night (2011)) flair and a script by Ana Nogueira, it shares the same outlandish action sequences and vibes as James Gunn's Superman (2025), mixed with the aforementioned Guardians.
Music by Claudia Sarne adds even more weight to some hard-hitting and darker moments.
All in all, if you'd never seen any films from the last decade, you'd love this. For the rest of us, there's a strong sense of déjà vu, which is a shame giving Alcock's top performance.
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