Friday the 13th: Part 2 (1981) Review

 

Five years after the events at Camp Crystal Lake, a new group of counsellors arrive at a nearby camp, unaware that the legend of Jason Voorhees is about to become very real.

Directed by Steve Miner in his feature directorial debut, Friday the 13th Part 2 has some of the tropes synonymous with 80s horror: the opening recap, nightmare and flashback sequences, the isolated camp, warnings from the locals and, of course, a steadily increasing body count.

There are also some welcome returning faces. Adrienne King briefly returns as Alice Hardy, while Walt Gorney is back as Crazy Ralph, still warning anyone who will listen to stay away. Betsy Palmer also makes a brief but effective return as Mrs Voorhees.

Jason is hidden beneath a rough sack rather than the hockey mask that would become synonymous with the character from partway through Part 3. It is a pity the mask was still one film away, although there is something genuinely creepy about this primitive, almost feral version of Jason, played by Warrington Gillette.

The kills are memorable: Alice is stabbed in the temple with an ice pick; Crazy Ralph is garrotted with barbed wire; Deputy Winslow takes the claw of a hammer to the back of the head; Scott has his throat cut while hanging upside down in a rope trap; Terry is killed off-screen; Mark is struck in the face with a machete before his wheelchair crashes down the stairs; Jeff and Sandra are impaled together with a spear in bed; and Vickie is stabbed in the stomach. That makes nine confirmed deaths.

The ginger-haired Ted, played by Stuart Charno, provides some of the film’s comic relief and survives, last seen drunk at the local bar. John Furey’s Paul is a solid lead alongside Amy Steel’s Ginny, although his unexplained disappearance is one of the film’s stranger loose ends.

Kirsten Baker’s Terry, introduced in her Minnie Mouse T-shirt and denim shorts, is certainly memorable, particularly during the film’s gratuitous skinny-dipping sequence. But it is Amy Steel who really holds the film together. Her Ginny is intelligent, grounded and studying psychology, while her drinking, chess playing and ability to understand Jason give her a personality beyond the usual Final Girl. Steel’s performance brings a convincing humanity to the character, making her final confrontation with Jason particularly effective as she uses his relationship with his mother against him.

However, the slow-motion jump scare that follows, with Jason (without the head-sack) crashing through the window, and the subsequent close-up of Mrs Voorhees’s decomposed head slightly robs the preceding climax of its impact.

Miner’s direction is excellent, especially in the way he builds anticipation before the kills and repeatedly uses shadows, darkness and carefully timed jump scares. He understands that sometimes what you don’t see can be as effective as what you do.

It looks great, too. Peter Stein’s cinematography gives the film crisp warm feel for the first half hour or so, then a cold, atmospheric quality when the scares begin, while Harry Manfredini’s music remains the essential glue, turning the woods, cabins and empty spaces into places of genuine unease.

Overall, Friday the 13th Part 2 may essentially be repeating the formula, but Steve Miner understands exactly what made the original work and knows when to let the atmosphere do the heavy lifting. It establishes Jason as the franchise’s central monster while giving us one of the series’ strongest Final Girls in Amy Steel.

Dracula (2025) Review

 

A 15th-century prince loses the woman he loves, renounces God and becomes Dracula, spending centuries searching for her reincarnation while leaving a bloody trail behind him.

Luc Besson's Dracula: A Love Tale is another take on Bram Stoker's immortal vampire, but this time Besson leans heavily into the doomed romance. Caleb Landry Jones is excellent as Dracula, with Zoë Bleu Sidel as Elisabeta/Mina, Christoph Waltz as the relentless priest and memorable Matilda De Angelis as the wonderfully feral Maria (a Lucy type character from the novel).

The opening is particularly effective, as Dracula loses his love in a breathless chase across the snow before the story jumps through the centuries. Besson changes the way Dracula searches for Mina, introducing his perfume experiments and having him use attacks and his followers to aid his quest. The gargoyles are another odd but entertaining addition, along with the passage of time dances that gives the story a much broader sweep.

It's sensual, it's bloody and it's much more of a love story and tale of sacrifice than some versions, while still delivering plenty of gothic horror and action. Jones's Dracula is also considerably more sympathetic, which changes the dynamic of the character without completely removing the deadly monster. Waltz's vampire hunter priest is humorous, frank, nonchalant and likeable. He makes a wonderful and methodical Van Helsing-type. The Clerk, Raphael Luce, Doctor Dumont played by Guillaume de Tonquédec, and Ewens Abid's quirky Harker are memorable and round out the cast. In addition, Henry Spencer, played by British actor David Shields is notable.

Colin Wandersman's cinematography is beautiful, with Hugues Tissandier's elaborate sets and Corinne Bruand's costumes giving the film a suitably lavish period atmosphere. Danny Elfman's music fits the gothic melodrama perfectly.

Of course, Dracula adaptations are hardly in short supply. From Universal's Dracula and its Spanish-language companion, Hammer's 1958 classic, Blood for Dracula, Nosferatu the Vampyre, Vampire in Venice and countless others, we've been here many times before. Besson's version feels more contemporary, somewhere between Interview with the Vampire, Francis Ford Coppola's Bram Stoker's Dracula and Robert Eggers' recent Nosferatu, while successfully putting his own strange spin on the material.

It doesn't reinvent Dracula, but Besson makes enough changes to keep this familiar story moving in unexpected directions. Gothic, romantic, bloody and occasionally wild - another Dracula, yes, but one I enjoyed sinking my teeth into. Not definitive, but arguably one of the go-to versions.

A. M. Esmonde’s Halloween Watch List 2026

As the shadows grow longer and the nights grow darker, it’s that time of year again when we gather ’round our screens for a daily dose of fright. I’m going a little more mainstream for 2026, and this year’s lineup promises to send shivers down your spine, with a mix of classic bone-chilling releases. Whether you’re a veteran of the macabre or just dipping your toes into the eerie waters of horror, there’s something here to make your October unforgettable.

 So, grab your popcorn, turn down the lights, and join me on this blood-curdling journey. 

 Halloween 2026 watch List: 

 1. Puppet Master (1989)

2. Friday the 13th: The Final Chapter (1984) 

3. Dracula (1931) Spanish Version 

4. Bram Stoker’s Dracula (1992) 

5. Mary Shelley's Frankenstein (1994) 

6. Vampires (1998) 

7. Trick or Treat (1986) 

8. The Lost Boys (1987) 

9. Ghostbusters (1984) 10. Sleepy Hollow (1999) 

11. Fright Night (1985) 

12. Blood From the Mummy’s Tomb (1971) 

13. Dead and Buried (1981) 

14. The Howling (1981) 

15. Cemetery Man (1994) 

16. Killer Klowns from Outer Space (1988) 

17. Event Horizon (1997) 

18. The Ninth Gate (1999) 

19. House(1985) 

20. Dawn of the Dead (1978) 

21. The Evil Dead (1981) 

22. A Nightmare on Elm Street 4: The Dream Master (1988) 

23. The Prophecy (1995) 

24. Maniac Cop 2 (1990) 

25. The Dark Crystal (1982) 

26. The Garbage Pail Kids Movie (1987) 

27. Hellraiser III: Hell on Earth (1992) 

28. Monster Squad (1987)

29. Carnival of Souls (1962) 

30. The Haunting (1963) 

31. Halloween IV (1988)

Need more? If you need a few extra for the weekends, or those longer nights... Bonus films:

Zombi 2 (Zombie, Zombie Flesh Eaters) (1979)

Dawn of the Dead (2004)

Day of the Dead (1985)

The Shining (1980)

An American Werewolf in London (1981)

Trick 'r Treat (2007)

Abigail (2024)

Halloween 6 (1995)

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

Night of the Living Dead (1990)

Dracula (2025)

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.