Resident Evil (2026) Review

 

A medical courier transporting an organ wants to get home to his girlfriend, but reluctantly takes one more job and finds himself facing monsters in the middle of Raccoon City.

Director Zach Cregger delivers a non-stop ride, creating a dark, foreboding atmosphere while keeping the action moving. The journey through hospitals, the snowy wilderness and city streets has a late-night, "just get home and get out of this situation" hopelessness to it, reminiscent of Silent Hill, After Hours, Night of the Living Dead, 30 Days of Night, Judgement Night and Enemy Territory. The ending, however, after everything we've been through, is ironically irritating and stops it from being almost perfect.

Cregger and co-writer Shay Hatten deliver some great one-liners, reminiscent of the quip humour of Cold Storage (2026), while the excellent cinematography by Dariusz Wolski and the framing give the film a surprisingly big, cinematic feel. From farms to city sewers, and high-rise buildings, Wolski's eye, along with Cregger's staging is impressive. Hays Holladay and Ryan Holladay's music is fitting, adding to the tension without overpowering it.

Austin Abrams is excellent as Bryan, a likeable, ordinary guy who finds himself completely out of his depth. As he picks up different weapons throughout, you genuinely find yourself rooting for him as he encounters offbeat people, infected creatures and children. With limited screen time, Kali Reis is memorable as Maxine, while Paul Walter Hauser is notable as quirky Carl. Zach Cherry, Johnno Wilson and Will Merrick round out the supporting cast.

The special effects are particularly impressive, with plenty of gore and grotesque creatures that give the film the nasty edge you'd expect from Resident Evil. There are also some great POV shots that should appeal to fans of the games, capturing that feeling of moving through an environment where you never quite know what's waiting around the next corner.

It doesn't really feature the familiar characters from the games, but that's part of what makes this feel like a fresh take. Fans of the Milla Jovovich Resident Evil series of films may particularly enjoy the nighttime setting, which echoes Resident Evil: Apocalypse. It's reminiscent of Resident Evil: Welcome to Raccoon City in places, only on a much larger budget.

Overall, Cregger's Resident was almost a perfect action horror film. It has the atmosphere, gore, humour, monsters and relentless late-night nightmare journey - until those last few scenes, maybe a cliche ending would have been more satisfying.

Friday the 13th Part VI: Jason Lives (1986) Review

Tommy Jarvis returns to Crystal Lake years after his encounter with Jason, determined to finally destroy the killer’s corpse. Unfortunately, a lightning strike brings Jason Voorhees back from the dead, and the killing starts all over again.

Tom McLoughlin’s Friday the 13th Part VI: Jason Lives is the series’ much-needed correction course. McLoughlin both writes and directs, bringing a fun horror atmosphere, a knowing sense of humour and enough self-awareness to breathe new life into a franchise that was beginning to run out of steam.

Thom Mathews, fresh from The Return of the Living Dead, is excellent as Tommy. Megan Garris, David Kagen, Renée Jones, Kerry Noonan, Tony Goldwyn and Tom Fridley all add to an enjoyable ensemble.

It’s also a shame they didn’t reuse Corey Feldman’s nightmare sequence from A New Beginning, as it would have provided a nice link to Tommy’s past. Instead, Mathews takes over the role played by John Shepherd, and makes it his own.

C.J. Graham’s impressive Jason is another major highlight. He establishes the hulking, almost unstoppable version of Voorhees that Kane Hodder would later step into and define. In resurrecting Jason, McLoughlin makes him an explicitly supernatural force for the first time. It distances itself from Halloween’s Michael Myers mortal archetype. This undead, more powerful version would become the standard depiction of Jason for the rest of the series.

The film even has fun with the conventions of the genre, prefiguring the self-aware horror humour that Kevin Williamson would later bring to the Scream films. The James Bond-style title walk-on is a brilliant touch, immediately announcing that this isn’t going to take itself too seriously. Yet, it has tension filled scenes, including a few with children at a camp which hadn’t been done before.

The atmosphere is excellent, the practical effects still work, the kills are inventive and Jon Kranhouse’s cinematography gives Crystal Lake a great look. Harry Manfredini’s score remains essential to the Friday the 13th sound, while Alice Cooper’s “He’s Back (The Man Behind the Mask)” gives the film an unmistakable ’80s horror identity.

Most importantly, Jason Lives is fun. It understands exactly what audiences want from Jason while giving the series enough personality to stand apart from what came before.

Overall, while light years away from the tone of the original, McLoughlin gets Friday the 13th back on track, gory, atmospheric and unapologetically entertaining. Jason is back, and this time he really is supernatural.

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

 

Jason Voorhees stalks a group of high school graduates on a ship en route to New York City.

Friday the 13th Part VIII: Jason Takes Manhattan stinks to high heaven of 1989 and that is not a bad thing. The American slasher film directed by Rob Hedden is the eighth instalment in the Friday the 13th film series and captures a time that was grittier, grimier and less polished with gore, rock music, big hair and make-up. That's not to say its' the best in series, its far from it. Hedden unnecessarily slips in more visions and dream sequences with Jensen Daggett's aqua-phobic Rennie Wickham character to keep up with the Nightmare on Elm St series. It's akin to part 7's New Blood shenanigans. Yes there are chronically time setting issues and plenty of inconsistencies but its own failing logic only adds to its wacky charm.

Fred Mollin's amps up the score and puts a twist on Harry Manfredini's theme stings. There's also some great stunt work. Veteran actor Peter Mark Richman features and out shines the other actors as Charles McCulloch. Aside from Richman few leave a big impact. Kane Hodder is excellent as the gooier, rotting Jason Voorhees and makes this effort so watchable, there's plenty of effects and fun to be had in Hodder's portrayal. Director Rob Hedden offers some imaginative direction and visuals, it feels bigger than it should moving from Crystal Lake but doesn't deliver on its New York setting with much of the action taking place on cruise ship with (mis- sold) Maniac Cop-like Manhattan featuring at the end. Jason Takes Manhattan at times is choppy and Hedden's change in setting offers some novelty freshness.

Jason kills using a harpoon gun, a guitar, slams a hot sauna rock into someone, decapitates someone else to name a few but the flow is nowhere as tight as The Final Chapter or Jason Lives. Of course there's some obligatory T & A, courteous of Sharlene Martin's Tamara and notably from Tiffany Paulsen as Suzi. Hodder saves this innings and as well as his little nuances as the masked killer we see Jason memorably in Times Square.

Overall, it's totally mindless with some nice make-up effects but it's the epitome of a cash-in horror sequel.

The Fog (2005) Review

 

A coastal town's residents find themselves trapped and fighting for their lives as a mysterious fog rolls in, forcing them to confront the dark history of how their community was founded.

Rupert Wainwright's atmospheric film follows the broad beats and plot of Carpenter's 1980 version, with some tweaks, while Cooper Layne's screenplay offers an additional twist. Expectations should be kept in check, as John Carpenter is simply attached as producer, and Debra Hill, who co-wrote and produced the original, passed away in March 2005 before the film's October release.

Tom Welling, hot off Smallville, largely goes through the motions. Maggie Grace and the excellent Selma Blair, who leaves a lasting impression, do their best with the material they are given. The cast as a whole comes across a little too glossy and clean, echoing the polished teen-horror style of Scream and its mid-2000s imitators rather than the grittier tone of the original.

Its strongest assets are Nathan Hope's cinematography, atmospheric coastal locations and sound design; the soundtrack and Graeme Revell's score stand out as genuine highlights.

Practical elements such as the boat, props and the actors working inside the fog itself can look impressive and occasionally spooky. There is, however, a heavy reliance on unnecessary CGI that undercuts the tension. Memorable moments include a zombie arm in a sink sequence and a car submerged in water, accompanied by a creepy female spook, yet the film repeatedly cuts away and tones down the horror. Shattering glass features heavily throughout. The last act, which includes an array of the dead, is impressive.

As remake go this is nowhere near the heights of the likes of Dawn of the Dead or Night of the Living Dead, or have the edge of Carpenters' Assault on Precinct 13 or Halloween remakes. Had the original 1980 film never existed, the picture might have registered as a mildly effective, even if forgettable horror entry.

Those unfamiliar with Carpenter's version may find it more enjoyable on its own terms, though it remains a diluted and largely unremarkable remake.

Darkman (1990) Review ​

 

A brilliant scientist left for dead returns to exact revenge on the people who burned him alive.

Sam Raimi delivers a pacey, stylish revenge ride, with his trademark kinetic camerawork, Dutch angles and visual flair on full display. Bill Pope's cinematography complements Raimi's restless direction, while Danny Elfman's rousing score - following his work on Batman the previous year - heightens the chaos, Peyton's breakdowns, action set-pieces and quieter emotional moments.

Liam Neeson gives an underrated and often overlooked performance as Peyton Westlake/Darkman, balancing the character's rage, vulnerability and fractured humanity. The film shares clear DNA with, and affectionately nods towards, classic Universal horror, particularly The Mummy (1932), The Invisible Man (1933), The Hunchback of Notre Dame (1939) and The Phantom of the Opera, as well as The Elephant Man (1980).

The practical make-up, gore and effects remain remarkably effective, although some of the optical work in the third-act helicopter sequence pulls you out of the moment and slightly undermines the impressive stunt work. Despite being called Darkman, much of the film takes place in daylight, robbing it of some of the nocturnal atmosphere associated with Batman and later comic-book films such as The Crow and The Shadow. Its visual energy nevertheless feels like a clear precursor to Raimi's Spider-Man.

Frances McDormand is somewhat under-used as Julie Hastings, occasionally reduced to the damsel in distress, although she and Neeson have chemistry. Larry Drake is excellent as the deceptively mild-mannered yet quietly lethal Robert G. Durant, while Colin Friels steals the third act as developer Louis Strack Jr. Nelson Mashita, Jessie Lawrence Ferguson and Ted Raimi add memorable support. Bruce Campbell also cameo.

Overall, this effects-driven, action-packed film moves briskly, even if it could have used more dramatic meat and breathing space. Raimi's direction, Elfman's superb score and Neeson's committed performance make Darkman an entertaining and distinctive slice of early-1990s comic-book horror.Raimi'S brisk, effects-driven, action-packed film.

Waxwork II: Lost in Time (1992) Review

 

After a severed hand from the destroyed wax museum frames Sarah for murder, Mark and Sarah leap through parallel dimensions of classic horror and fantasy stories to gather proof of her innocence.

Writer-director Anthony Hickox offers another imaginative outing, opening with a recap of the predecessor's fiery climax before an Addams Family Thing-like hand escapes the ruins and sets the chaos in motion. Gremlins' quirky lead Zach Galligan returns as Mark, but stunning Monika Schnarre's takeover of the Sarah role proves a jarring recast that takes time to settle.

The supporting cast is an endless parade of famous and familiar faces: Martin Kemp as Baron Von Frankenstein, Bruce Campbell as John Loftmore, Power Station's Michael Des Barres, Young Sherlock Holmes' Sophie Ward, Star Trek: TNG's Marina Sirtis, a young Drew Barrymore, John Ireland as King Arthur, Patrick Macnee returning as Sir Wilfred, Die Hard's Alexander Godunov, character actor legend George "Buck" Flower, and David Carradine.

Rather than simply revisiting classic monsters, Hickox abandons the wax museum for a dimension where fictional stories have become realities-Frankenstein, The Haunting, Alien, Godzilla, Nosferatu, Dawn of the Dead and more. Much like the original exhibits, Mark and Sarah are pulled into each new world and take on the personas of its characters.

As well as the time-door/portal device - the artefact that allows Mark and Sarah to travel through time - the film features a series of pop-culture objects and artefacts. These include Jason Voorhees' hockey mask from Friday the 13th, the Ark of the Covenant crate from Raiders of the Lost Ark, a Norman Bates-style wig and a knife resembling Norman Bates' murder weapon from Psycho, the key to Cabin 1 (a direct Bates Motel reference), and silver bullets (a werewolf nod that also humorously alludes to McKnee's role in The Howling and callback to the first Waxwork film).

The film then moves beyond isolated objects into full sequences and visual/audio references drawn from Psycho, Frankenstein, Nosferatu, Dr Jekyll and Mr Hyde, House of Wax, Jack the Ripper lore, Godzilla, Invasion of the Body Snatchers, Die Hard, The Haunting, The Legend of Hell House, Dawn of the Dead, Alien and Aliens, 2001: A Space Odyssey, Evil Dead II, The Shining, Monty Python and the Holy Grail, and Alice Through the Looking-Glass.

Gerry Lively returns behind the camera and improves the atmosphere throughout. Even though part two went straight to VHS, it looks more filmic than the theatrical-run original. Steve Schiff's music is solid at times yet doesn't always seem to fit. The film again benefits from some practical effects and, even though released in 1992, manages to retain a strong 1980s vibe.

While enjoyable, Hickox's Hellraiser III: Hell on Earth turned out much better. Faulty and flawed in places, but still good nostalgic fun for fans of the first.

Waxwork (1988) Review

 

A mysterious wax museum owner (David Warner, deliciously sinister) invites a group of young people to a private midnight viewing. Step beyond the rope of an exhibit and you enter its world - werewolf, vampire, mummy, Marquis de Sade and more - with deadly consequences.

Waxwork (1988), Anthony Hickox's debut is a terrific concept delivered with genuine affection for classic monster cinema. Hickox's energetic direction, Bob Keen's excellent practical effects and creature work, and the physical stunts give the film bags of 1980s charm.

Gerry Lively's cinematography and Roger Bellon's score - alongside the cheeky use of Lesley Gore's "It's My Party" - complete the nostalgic package.

However, it feels at times as if shots are missing, cut or unfilmed, possibly due to budget and time, which are not necessarily editing issues, just elements that don't exist. Also the characters and tone at times feels a little off and underwritten. That said, there's some great locations and sets and one-liners that hit the mark.

Zach Galligan (Gremlins) and Deborah Foreman (April Fools Day) make an appealing central pair and do there best with the material. While the memorable and alluring Michelle Johnson, Clare Carey and likeable Dana Ashbrook (Twin Peaks) provide solid support. Mihaly 'Michu' Meszaros (ALF) is notable. Kendall Conrad owns the mummy segment as the Girl in Pyramid leaving an impression. Warner relishes the opportunity to chew the scenery, Patrick Macnee adds wry authority as Sir Wilfred, and brief appearances from John Rhys-Davies as the werewolf and Miles O'Keeffe as Dracula are great fun.

The comedy is hit-and-miss, the pacing occasionally drags, and the final act suffers from choppy editing and awkward staging. Even so, Waxwork remains lively nostalgic fun, an effects-driven horror-comedy with plenty of imagination and atmosphere.

C.H.U.D. II Bud the Chud (1989) Review

 

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.

C.H.U.D. (1984) Review

 

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.

Primitive War (2025) Review

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.