Coming Attractions- The Alto Knights

 

Director- Barry Levinson

Release Date- March 21, 2025

Robert De Niro playing dual roles is more than enough for me. You could say De Niro is more streaky in the later stages of his career, but there’s no denying the man is still capable of delivering great performances. Whether it’s Goodfellas, Casino, The Godfather Part II, The Irishman, and other movies, De Niro is always at his best in gangster biopics and crime dramas. 

I’m also interested to see Cosmo Jarvis’ performance as Vincent “Chin” Gigante. Vincent D’ Onofrio sets the bar pretty high on Godfather Of Harlem. I know it’s a TV series, so D’Onofrio has more time and breathing room to portray a detailed and fleshed out version of Gigante, but D’Onofrio is always the first person, who pops into my head, when I think of Gigante.

Coming Attractions- Until Dawn

 

Director- David F. Sandberg

Release Date- April 25, 2025

So they’re obviously going in a different direction for adapting the Until Dawn game. It’s good to see they’re trying to keep some continuity from the game going with Peter Stormare, but everything else looks completely different. I’m kind of bummed out about the story not taking place during wintertime. The dark and cold snowy atmosphere added a lot to the game, amping up the tension and the overall eerie mood for everything.

I played Until Dawn once. Really enjoyed it, and it’s easily one of my favorite survival horror games. This trailer? Yeah, unless you know about, or if you’re fan of the game, Until Dawn looks like an ordinary horror flick, featuring a lot of the usual cliches. 

Adapting a video game or a book is a tricky task. If you go step by step, while indulging in fan service too much and trying to stay faithful to the original material, the final product might be too predictable and lazy, depending on how it’s done. They’re taking a chance on exploring the mythology, and hopefully it pays off in the end. 

I also trust David F. Sandberg, because he did a good job with Lights Out and Annabelle: Creation. There’s some humor towards the end of the trailer, and the time loop/Groundhog Day approach has some potential for a lot of different possibilities. Also, is there a chance they’ll go with a found-footage POV for certain scenes?

Coming Attractions- The Monkey

 

Director- Osgood Perkins

Release Date- February 21, 2025

The morbid humor in the trailer is great, and I always have high expectations for a Stephen King adaptation. Osgood Perkins has become one of the go-to filmmakers for the horror genre over the years. Perkins usually goes with a dark and brooding style for his films, so it’s refreshing to see something that’s a bit quirky with a more upbeat tone.

Coming Attractions- Hell Of A Summer

 

Directors- Billy Bryk, Finn Wolfhard

Release Date- April 18, 2025

Summer camp, teenagers, a masked killer running around, AND a ouija board? Hell Of A Summer has all the ingredients to be an at least halfway decent slasher film. This should be a layup, but I’m still not completely sold on this one right now. 

The humor looks good, and there’s a possibly hilarious storyline about Fred Hechinger playing the twenty-four years old loser, who works as a camp counselor. There’s no way Hechinger is actually the killer, because it’s too obvious. Although, there’s a strong chance he winds up being the hero, who stops the killer, and they go with the big happy ending, where Hechinger finally gets his life together.

Coming Attractions- Drop

 

Director- Christopher Landon

Release Date- April 11, 2025

Christopher Landon is easily one of my favorite filmmakers. He does a good of blending horror and comedy together for energetic movies, including both Happy Death films and Freaky. And for me, Landon wrote and directed the best Paranormal Activity (The Marked Ones) film.

Drop obviously has a more serious tone. Going by the trailer, it’s not too easy to see or to guess the identity of the puppet master, who’s pulling the strings and causing so much trouble for Meghann Fahy’s Violet, and that’s a good thing. A promising trailer with an intriguing premise, featuring a story about a single mother, who’s clearly trying to get out in the world again, and find some normalcy in her life. All signs point to a big twist, and hopefully Drop delivers a good payoff ending.

Coming Attractions- Opus

 

Director- Mark Anthony Green

Release Date- March 14, 2025

Picking up on some strong similarities to The Menu with this one. Ayo Edebiri’s Ariel receives an invitation to a secluded place, an invitation that feels odd, because maybe she’s not supposed to be there, and she just doesn’t fit with all the other guests. And it’s an event, where a famous and eccentric egomaniac (John Malkovich) takes center stage. A lot of strange cultish vibes surrounding Malkovich’s Moretti. It’s clear there’s something sinister going on, and Moretti is hiding secrets.

Opus could be a sleeper hit. Anything that comes from A24 usually receives a good amount of buzz, and John Malkovich is still capable of delivering great performances. 

Coming Attractions- Sinners

 

Director- Ryan Coogler

Release Date- April 18, 2025

Michael B. Jordan definitely has the acting chops to pull off a double duty performance, playing twin brothers. But there’s just something off about this trailer. It looks good. There’s some promising scenes featuring bloody gore, action, and Hailee Steinfeld has a few good highlights during her appearances. Still, I should be more excited about what I’m assuming is a vampire horror film about racial tensions in the Deep South during an era, where racism was more prevalent and widespread, accompanied by laws to enforce it. 

I’m happy Ryan Coogler is taking a break from Wakanda, because he’s one of my favorite directors. But this trailer for Sinners is just missing a spark, and there’s no real energy here. I’m sure Sinners will be a good film, but another problem with this trailer is, they show way too much. I get the feeling I’ve seen almost everything, excluding the big final battle, or the last standoff towards the end. 

Coming Attractions- Locked

 

Director- David Yarovesky

Release Date- March 21, 2025

Based on 4x4 (2019), the trailer for Locked shows a lot of promise. One thing that’s noticeable is, Bill Skarsgard’s character might be a thief, but he’s also not portrayed as a devious or scummy person. You get the feeling he’s someone, who’s either going through something, or he’s fallen on hard times for one reason or another. Giving the dog water, and his horrified reaction to the car possibly hitting the little girl shows he’s someone with a moral compass, and he’s currently suffering from the consequences of a big mistake.

Lots of teases for tense scenes and close calls, and Anthony Hopkins looks like a good fit for his role. I’m guessing Locked will feature one of those topsy-turvy revelations. Just looking at the trailer, Hopkins is a rich and morally bankrupt madman, who gets off on punishing sinners, or people, who are beneath him. 

Coming Attractions- Ash

 

Director- Flying Lotus

Release Date- March 21, 2025

A trippy and completely bonkers trailer for Ash. Loving the strong vibrant colors and the psychedelic vibes here, but I’m also kind of worried Ash won’t stick the landing for the big twist. There’s a lot going on in the trailer, some puzzling questions, and I’m just hoping the twist is not something so ridiculous and over the top to the point, where it’s too silly to buy into. 

Good action in the trailer, and there’s a few teases for bloody and extreme violence. High hopes for Ash, easily one of my must-see picks for 2025.

Never Let Go (2024)

 

**This post contains spoilers**

The Story- Momma (Halle Berry) lives in a secluded cabin deep in the woods with her sons, Nolan (Percy Daggs IV) and Samuel (Anthony B. Jenkins), and the family dog, Coda. Facing a daily struggle without any recent signs of survivors, Momma constantly fights to protect Samuel and Nolan from The Evil, a malevolent shape-shifting force, in a seemingly post-apocalyptic world. Momma has one crucial rule for survival: never remove or let go of the rope, or the “lifeline” connected to the house, because The Evil’s touch comes with fatal consequences.

Food is scarce, and as more time passes, Nolan starts to question Momma’s strange behavior and the reasons behind her decisions. Has the world come to an end? Or is it possible Momma is hiding something from Nolan and Samuel?

My Thoughts- Halle Berry strongly plays the role of a fierce and dedicated mother, who deeply loves her sons. Momma has moments of compassion, but she’s also stern and cruel during certain scenes. Maybe you can understand why Momma is hard on Nolan and Samuel, because after all, they’re allegedly trying to survive an apocalyptic event. 

As the story progresses, you’ll see Momma unravel more and more. The frazzled look for Momma helps during her descent into madness, and Berry does a great job of showing believable emotions. The stress, the panicked reactions, how unstable Momma becomes, when she believes The Evil is closing in, but Momma occasionally has just enough clarity to savor a few happy and peaceful moments with her sons. Momma is a complicated character with so many layers, and Halle Berry absolutely nails each one of them.

The tense relationship between Nolan and Samuel is truly one of the bigger highlights of the movie, strengthened by two solid performances from Anthony B. Jenkins and Percy Daggs IV. Nolan is more of a rebel, and a freethinker, while Samuel is obedient and one hundred percent loyal to his mother. The brotherly feud hits a boiling point after that scene in the greenhouse. Jenkins and Daggs IV carried Never Let Go to the finish line, a remarkable achievement for a movie that features a big veteran star. 

So what’s going on? Is the outside world a post-apocalyptic wasteland? Is something off upstairs with Momma? Well, they hold off the big reveal until the final moments of the movie, and guess what? Everything is fine! The appearance of a hiker (Matthew Kevin Anderson) and his daughter (Cadence Compton), no apocalypse, and the outside world and civilization is intact.

The Evil? Mental illness. The clues for something being off with Momma are obvious. A lot of her decisions didn’t make any sense, and I always had the feeling she was hiding something. Momma killing off the family was a big red flag. 

Sure, MAYBE you could buy into the idea that Momma had to kill her mother, her father, and Nolan and Samuel’s father to protect them from the infection, but that line of thinking falls apart, when you realize Momma is the only one, who can actually see The Evil. It was all just hallucinations, and in the end, Momma was a mentally ill mother, who was too far gone, and a danger to her children.

The big clincher happens, when Nolan sees the hallucination of Momma. Momma tells Nolan mental illness is in the blood, like a disease, and that he should give in. The final sequence with Nolan trying to escape the burning cabin, after a demented Samuel decided to burn everything delivers some solid thrills. Samuel blamed Nolan for Momma committing suicide. The tension between Nolan and Samuel finally hit a boiling point, and Samuel snapped, something that was teased a lot after Momma’s death.

An eerie ending, with Nolan and Samuel surviving after the fight, Momma’s death, and Nolan’s struggle to escape the cabin. And a few creepy moments, including the Polaroid photo with The Evil’s hand touching Samuel’s shoulder, and Samuel repeating the “She loves me more” line with that bizarre smile on his face.

Never Let Go leaves some puzzling unanswered questions. What was on the one photo Momma refused to show to Nolan and Samuel, the one she was saving for later? What exactly led Momma to do everything that she did, including hunkering down in the cabin? Yes, I know mental illness, and a mother protecting her children from the evils of the world are big factors. But there’s a difference between spoon feeding the answers, and not giving some kind of explanation, or at least dropping some hints that’ll lead somewhere.

It drags in certain parts, and the scenes, where The Evil appears in different forms are kind of hokey. But Never Let Go is still a solid film. Director Alexandre Aja gets the most out of an isolated setting in the forest, using silence and the sounds of nature to create a tense atmosphere, including a few spooky nighttime scenes. Halle Berry delivers a good performance in the leading role. Jenkins and Dagger IV contributed to the strained and sometimes broken family dynamic with a pair of impressive performances, and you can understand why Nolan and Samuel chose different paths before and after the greenhouse scene. 

Never Let Go cleverly connects the problems with suffering from a mental illness and evil. Going with the idea for evil and mental illnesses sharing a connection as a sort of infection or a disease, especially if it’s something that runs in the family, really works. If The Evil touches you, there’s a good chance it’ll destroy your mind (you can see what happened to Samuel during the ending). The scenes are a bit corny, but using snakes to represent The Evil makes sense, considering what they were going for. Momma pointed out The Evil can be deceptive, while wearing many skins, similar to a snake shedding its skin. 

The finale and the ending? For me, the big reveal wasn’t a shocking surprise. If you pay close attention to everything that’s going on, you should see the answers are right in front of you for what’s real and what’s not real, because certain events and Momma’s explanations just aren’t adding up, as the story progresses. Still, I guess you could say it’s a mostly satisfying and happy ending. And I’m slightly curious about a sequel or a prequel, because Never Let Go still needs to answer some big questions. 

Rating- 7/10

Never Let Go (2024)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- Momma (Halle Berry) lives in a secluded cabin deep in the woods with her sons, Nolan (Percy Daggs IV) and Samuel (Anthony B. Jenkins), and the family dog, Coda. Facing a daily struggle without any recent signs of survivors, Momma constantly fights to protect Samuel and Nolan from The Evil, a malevolent shape-shifting force, in a seemingly post-apocalyptic world. Momma has one crucial rule for survival: never remove or let go of the rope, or the “lifeline” connected to the house, because The Evil’s touch comes with fatal consequences.

Food is scarce, and as more time passes, Nolan starts to question Momma’s strange behavior and the reasons behind her decisions. Has the world come to an end? Or is it possible Momma is hiding something from Nolan and Samuel?

My Thoughts- Halle Berry strongly plays the role of a fierce and dedicated mother, who deeply loves her sons. Momma has moments of compassion, but she’s also stern and cruel during certain scenes. Maybe you can understand why Momma is hard on Nolan and Samuel, because after all, they’re allegedly trying to survive an apocalyptic event. 

As the story progresses, you’ll see Momma unravel more and more. The frazzled look for Momma helps during her descent into madness, and Berry does a great job of showing believable emotions. The stress, the panicked reactions, how unstable Momma becomes, when she believes The Evil is closing in, but Momma occasionally has just enough clarity to savor a few happy and peaceful moments with her sons. Momma is a complicated character with so many layers, and Halle Berry absolutely nails each one of them.

The tense relationship between Nolan and Samuel is truly one of the bigger highlights of the movie, strengthened by two solid performances from Anthony B. Jenkins and Percy Daggs IV. Nolan is more of a rebel, and a freethinker, while Samuel is obedient and one hundred percent loyal to his mother. The brotherly feud hits a boiling point after that scene in the greenhouse. Jenkins and Daggs IV carried Never Let Go to the finish line, a remarkable achievement for a movie that features a big veteran star. 

Never Let Go leaves some puzzling unanswered questions. What was on the one photo Momma refused to show to Nolan and Samuel, the one she was saving for later? What exactly led Momma to do everything that she did, including hunkering down in the cabin? Yes, I know mental illness, and a mother protecting her children from the evils of the world are big factors. But there’s a difference between spoon feeding the answers, and not giving some kind of explanation, or at least dropping some hints that’ll lead somewhere.

It drags in certain parts, and the scenes, where The Evil appears in different forms are kind of hokey. But Never Let Go is still a solid film. Director Alexandre Aja gets the most out of an isolated setting in the forest, using silence and the sounds of nature to create a tense atmosphere, including a few spooky nighttime scenes. Halle Berry delivers a good performance in the leading role. Jenkins and Dagger IV contributed to the strained and sometimes broken family dynamic with a pair of impressive performances, and you can understand why Nolan and Samuel chose different paths before and after the greenhouse scene. 

Never Let Go cleverly connects the problems with suffering from a mental illness and evil. Going with the idea for evil and mental illnesses sharing a connection as a sort of infection or a disease, especially if it’s something that runs in the family, really works. If The Evil touches you, there’s a good chance it’ll destroy your mind. The scenes are a bit corny, but using snakes to represent The Evil makes sense, considering what they were going for. Momma pointed out The Evil can be deceptive, while wearing many skins, similar to a snake shedding its skin. 

The finale and the ending? For me, the big reveal wasn’t a shocking surprise. If you pay close attention to everything that’s going on, you should see the answers are right in front of you for what’s real and what’s not real, because certain events and Momma’s explanations just aren’t adding up, as the story progresses. Still, I guess you could say it’s a mostly satisfying and happy ending. And I’m slightly curious about a sequel or a prequel, because Never Let Go still needs to answer some big questions. 

Rating- 7/10

Trap (2024)

 

**This post contains spoilers**

The Story- Cooper (Josh Hartnett) takes his daughter, Riley (Ariel Donoghue) to a concert headlined by Lady Raven (Saleka Night Shyamalan), a popular pop singer. Unbeknownst to Riley, his wife, Rachel (Alison Pill), and his son, Logan (Lochlan Miller), Cooper lives a secret double life as The Butcher, a smart and calculating serial killer.

Cooper runs into an unexpected dilemma, when a merchandise stand worker named Jamie (Jonathan Langdon) reveals the concert is actually an elaborate trap designed to catch The Butcher. With Lady Raven’s help and guidance from FBI profiler Dr. Josephine Grant (Hayley Mills), the seemingly air tight trap complicates Cooper’s plans to escape.

Cooper devises a series of schemes and distractions, but the walls are closing in. Lady Raven has a chance to save Spencer (Mark Bacolcol), The Butcher’s latest victim, but Cooper comes up with a plan to escape with Riley….

My Thoughts- He’s a husband, a father, a firefighter, and a serial killer! Cooper is a man of many faces. Josh Hartnett delivers an amazing performance, playing a dangerous chameleon, who’s capable of switching personalities at the right time to fit whatever the situation calls for. Cooper is a devious and persistent tactician, who won’t be denied. The details and the little nuances for Cooper really pulls everything together. Whether it’s calmly cleaning or neatly folding a shirt in highly stressful situations, you can clearly see Cooper is a man with a lot of loose screws.

The narcissism, his massive ego, the constant lies, the phony good guy persona, and the fact that Cooper’s troubling problems are all rooted in serious mommy issues is noticeable. But you can also tell Cooper is a man, who truly loves his family. 

Yes, he’s a cold-hearted egomaniac, who doesn’t hesitate to step on anyone to get what he wants. But Cooper wants to be around for his children. Notice how excited Cooper is, while he’s basically playing the “cool dad” with Riley at the concert. Hartnett does a good job of being convincing as someone, who’s torn between the sadistic lifestyle of a serial killer and a family man, especially towards the end. Cooper wants it all, to have his cake and eat it too, and he becomes furious, when he realizes he’ll probably lose everything.

Saleka Night Shyamalan’s character is carefully crafted for Trap. She’s already a pop star in real life, so it’s not surprising that she’s noticeably comfortable playing Lady Raven, including the performances. It’s a role that suits her, and well, you have to believe she’s just being herself, or a more exaggerated version of herself. 

Lady Raven is a likable character, someone, who’s humble and compassionate. The final stretch gets a little weird, when Lady Raven tries to play mind games with Cooper (specifically that scene in the car). I’m not saying it’s bad acting, but certain parts are kind of awkward, and they do feel a bit forced. 

M. Night Shyamalan completely lost me with the ending. So let me see if I have this right. You pull out all the stops to catch The Butcher. Hordes of cops, tactical teams, and you set a trap for him during a concert. EVERYTHING except for the National Guard and the Navy Seals to stop this guy. And for some reason, when he’s completely surrounded by cops you let him touch a bike, giving him the opportunity to grab a spoke off of the wheel? On top of that, Cooper uses that spoke to unlock his handcuffs, so now there’s a chance to escape? Again?

It’s a bummer for me, because I was completely hooked in for everything leading up to the ending. The tense moments between Cooper and Rachel in the kitchen, the cat and mouse games between Lady Raven and Cooper, including Raven racing against the clock to save Spencer, and knowing Cooper was so close to completely losing it and killing Rachel. And Cooper finally giving in to visions of his deceased mother (Marcia Bennett), after trying so hard to ignore her throughout the movie.

But if you’re going the route of capturing The Butcher, then he should’ve been caught with no shenanigans. It just defies all kinds of logic after all the careful planning, having an expert FBI profiler on the case, and numerous strong walls of security. Why? Because he’s that good? Sorry, I just didn’t buy the whole idea that The Butcher is supposed to be Houdini, when he’s surrounded by a group of armed officers. 

The close calls are tight and there’s a few good nail-biters, while Cooper improvises his possible escape routes. But for me most of it is undone with the ending, because there’s just too much ridiculous BS in the final moments. 

Hartnett is fantastic. There’s no denying that, but it’s a case, where Shyamalan gets a bit too enamored with Cooper/The Butcher. There’s absolutely no reason why what happened should’ve happened during the ending, considering the circumstances, and knowing how dangerous Cooper is and what he’s capable of.

Still, Trap is an entertaining psychological thriller. Good methodical pacing, the concert scenes have a strong sense of realism, and there’s one brutal scene involving a deep fryer. There’s also something genuinely creepy about Cooper explaining why he goes after his victims. The Butcher believes no human being is truly whole, and that mindset plays a big role for him, when he decides to literally cut his victims into pieces. Really the kind of stuff that makes your skin crawl. 

This is The Josh Hartnett Show. Hartnett’s tour de force performance is impressive, but there’s also some noteworthy performances from the supporting cast. Ariel Donoghue playing the exuberant teenage girl, or Alison Pill showing believable emotions for a conflicted Rachel, because she still wants to believe Cooper is a good person. Also, Hayley Mills is appropriately cast as the wise old veteran character, who’s smart  and knows how to keep her composure. 

There’s also some good humor here. Jonathan Langdon has his moments (I genuinely laughed at Jamie’s reaction during the mid-credits scene, when he finds out Cooper is The Butcher.) as the upbeat and enthusiastic vendor. Kid Cudi is good for a few laughs as Thinker, an egotistical diva with a bad attitude. Marine McPhail-Diamond is hilarious as Jody’s (Riley’s ex-friend) mother, the sort of unhinged Pollyanna, with a “dark side.” 

And of course it wouldn’t be an M. Night Shyamalan without a cameo from the man himself! As usual, I don’t mind Shyamalan’s cameos. It’s a brief appearance, and his character (he plays Lady Raven’s uncle) moves the story forward without unnecessarily taking anything away from the developments during the home stretch. 

The story of the firefighter living in the suburbs, moonlighting as an infamous serial killer was loaded with potential. I had high hopes for Trap, but it’s not a complete misfire. Shyamalan’s still capable of delivering wild and thought-provoking stories, and Trap proves he doesn’t need to rely on a big shocking twist. I was waiting for the swerve, because it’s Shyamalan, but I’m glad he decided to go with a more straightforward style of storytelling.

Rating- 6/10

Trap (2024)(Minor Spoilers)

  

**This post contains MINOR spoilers**

The Story- Cooper (Josh Hartnett) takes his daughter, Riley (Ariel Donoghue) to a concert headlined by Lady Raven (Saleka Night Shyamalan), a popular pop singer. Unbeknownst to Riley, his wife, Rachel (Alison Pill), and his son, Logan (Lochlan Miller), Cooper lives a secret double life as The Butcher, a smart and calculating serial killer.

Cooper runs into an unexpected dilemma, when a merchandise stand worker named Jamie (Jonathan Langdon) reveals the concert is actually an elaborate trap designed to catch The Butcher. With Lady Raven’s help and guidance from FBI profiler Dr. Josephine Grant (Hayley Mills), the seemingly air tight trap complicates Cooper’s plans to escape.

Cooper devises a series of schemes and distractions, but the walls are closing in. Lady Raven has a chance to save Spencer (Mark Bacolcol), The Butcher’s latest victim, but Cooper comes up with a plan to escape with Riley….

My Thoughts- He’s a husband, a father, a firefighter, and a serial killer! Cooper is a man of many faces. Josh Hartnett delivers an amazing performance, playing a dangerous chameleon, who’s capable of switching personalities at the right time to fit whatever the situation calls for. Cooper is a devious and persistent tactician, who won’t be denied. The details and the little nuances for Cooper really pulls everything together. Whether it’s calmly cleaning or neatly folding a shirt in highly stressful situations, you can clearly see Cooper is a man with a lot of loose screws.

The narcissism, his massive ego, the constant lies, the phony good guy persona, and the fact that Cooper’s troubling problems are all rooted in serious mommy issues is noticeable. But you can also tell Cooper is a man, who truly loves his family.  

Yes, he’s a cold-hearted egomaniac, who doesn’t hesitate to step on anyone to get what he wants. But Cooper wants to be around for his children. Notice how excited Cooper is, while he’s basically playing the “cool dad” with Riley at the concert. Hartnett does a good job of being convincing as someone, who’s torn between the sadistic lifestyle of a serial killer and a family man, especially towards the end. Cooper wants it all, to have his cake and eat it too, and he becomes furious, when he realizes he’ll probably lose everything.

Saleka Night Shyamalan’s character is carefully crafted for Trap. She’s already a pop star in real life, so it’s not surprising that she’s noticeably comfortable playing Lady Raven, including the performances. It’s a role that suits her, and well, you have to believe she’s just being herself, or a more exaggerated version of herself. 

Lady Raven is a likable character, someone, who’s humble and compassionate. The final stretch gets a little weird, when Lady Raven tries to play mind games with Cooper (specifically that scene in the car). I’m not saying it’s bad acting, but certain parts are kind of awkward, and they do feel a bit forced.

The close calls are tight and there’s a few good nail-biters, while Cooper improvises his possible escape routes. But for me most of it is undone with the ending, because there’s just too much ridiculous BS in the final moments. 

Hartnett is fantastic. There’s no denying that, but it’s a case, where Shyamalan gets a bit too enamored with Cooper/The Butcher. There’s absolutely no reason why what happened should’ve happened during the ending, considering the circumstances, and knowing how dangerous Cooper is and what he’s capable of.

Still, Trap is an entertaining psychological thriller. Good methodical pacing, the concert scenes have a strong sense of realism, and there’s one brutal scene involving a deep fryer. There’s also something genuinely creepy about Cooper explaining why he goes after his victims. The Butcher believes no human being is truly whole, and that mindset plays a big role for him, when he decides to literally cut his victims into pieces. Really the kind of stuff that makes your skin crawl. 

This is The Josh Hartnett Show. Hartnett’s tour de force performance is impressive, but there’s also some noteworthy performances from the supporting cast. Ariel Donoghue playing the exuberant teenage girl, or Alison Pill showing believable emotions for a conflicted Rachel, because she still wants to believe Cooper is a good person. Also, Hayley Mills is appropriately cast as the wise old veteran character, who’s smart  and knows how to keep her composure. 

There’s also some good humor here. Jonathan Langdon has his moments as the upbeat and enthusiastic vendor. Kid Cudi is good for a few laughs as Thinker, an egotistical diva with a bad attitude. Marine McPhail-Diamond is hilarious as Jody’s (Riley’s ex-friend) mother, the sort of unhinged Pollyanna, with a “dark side.” 

And of course it wouldn’t be an M. Night Shyamalan without a cameo from the man himself! As usual, I don’t mind Shyamalan’s cameos. It’s a brief appearance, and his character (he plays Lady Raven’s uncle) moves the story forward without unnecessarily taking anything away from the developments during the home stretch. 

The story of the firefighter living in the suburbs, moonlighting as an infamous serial killer was loaded with potential. I had high hopes for Trap, but it’s not a complete misfire. Shyamalan’s still capable of delivering wild and thought-provoking stories, and Trap proves he doesn’t need to rely on a big shocking twist. I was waiting for the swerve, because it’s Shyamalan, but I’m glad he decided to go with a more straightforward style of storytelling.

Rating- 6/10

Coming Attractions- The Woman In The Yard

 

Director- Jaume Collet-Serra

Cast- Danielle Deadwyler, Okwui Okpokwasili, Estella Kahiha, Russell Hornsby, Peyton Jackson

Release Date- March 28, 2025

A creepy and mysterious trailer for The Woman In The Yard. We’re not exactly sure what the woman in the black wants, but you can clearly see the family takes her seriously as a threat and they’re terrified of her. 

Going by the reactions from everyone at the house, you have to believe there’s some kind of familiarity or a connection to the woman. I’m glad this trailer doesn’t give away too much, leaving a lot of room for questions about what’s going to happen, when the woman finally makes her move. Also, the nursery rhyme at the beginning of the trailer is a nice touch to help build some mystique. 

House Of Wax (2005) is a fantastic horror remake, and I always enjoyed Jaume Collet-Serra’s collaborations with Liam Neeson. But I’m uneasy about certain parts in this trailer. The entity dragging someone across the floor is a worn out scare tactic in horror films. A good premise, but it’s a mainstream PG-13 horror film, so the familiar cliches might pop up, but Blumhouse is usually reliable, if we’re talking about horror films. 

Coming Attractions- Presence

 

Cast- Lucy Liu, Chris Sullivan, Eddy Maday, Lucas Papaelias, West Mulholland, Callina Liang, Julia Fox

Director- Steven Soderbergh

Release Date- January 24, 2025

A haunting horror film shown from the perspective of the entity could deliver a refreshing twist. It’s an approach that’ll possibly cut down on the jump scares. It’ll be interesting to see how the entity’s attacks, or the mind games affects each member of the family, with a more voyeuristic style of storytelling. But on the flip side of that, there’s also the chance the entity’s POV is Presence’s only redeemable quality. 

Steven Soderbergh is one of my favorite directors. Soderbergh has the ability to jump from one genre to the next, while making good films. If the trailer is a sign of things to come, Presence is going the route of methodical pacing, with a handful of supernatural jolts. 

Coming Attractions- Heart Eyes

 

Director- Josh Ruben

Cast- Olivia Holt, Mason Gooding, Devon Sawa, Chris Parker, Jordana Brewster, Latham Gaines, Michaela Watkins, Gigi Zumbado

Release Date- February 7, 2025

Yes! Finally, another Valentine’s Day slasher. My Bloody Valentine and the 2009 remake are two films that successfully pulled off creating brutal and bloody horror films, with an ironic and sinister twist for a holiday that’s supposed to be about happiness and love.

I’m excited for Heart Eyes, because I’m a big fan of holiday themed horror, and there’s so much untapped potential for Valentine’s Day. I’m not completely sold on the mask. Obviously, the killer’s mask is supposed to be similar to the heart eyes emoji, but it just looks kind of weird.

A solid trailer, featuring signs of bloody gore and creative kills. Hopefully Heart Eyes finds unique methods to work Valentine’s Day into the story, including cards, roses, boxes of chocolates, and other gifts, similar to both My Bloody Valentine films. Maybe I’m getting too far ahead of myself, but I already have hopes for a sequel, because it wouldn’t hurt to have another slasher villain. 

Coming Attractions- Companion

 

Director- Drew Hancock

Cast- Sophie Thatcher, Rupert Friend, Megan Suri, Jack Quaid, Harvey Guillen, Lukas Gage

Release Date- January 31, 2025

Truly a completely bonkers trailer that shows a lot, but there’s still some unanswered questions to think about. You can tell there’s A LOT more to the story than the usual “robot gains self-awareness and humanity, and bad things happen” storyline.

Companion shows signs of being a well-rounded film. Bloody violence, Sophie Thatcher is great in the trailer, and a few hilarious moments. High hopes for this one, easily one of my top must-see picks this year.

Coming Attractions- A Working Man

 

Director- David Ayer

Cast- Jason Statham, Noemi Gonzalez, Jason Flemying, David Harbour, Emmet J. Scanlan, Michael Pena, Arianna Rivas, Eve Mauro, Maximilian Osinski, Kristina Poli, Isla Gie, Andrej Kaminsky

Release Date- March 28, 2025

The trailer shows way too much. Still, there’s a good chance The Working Man will deliver, and Statham, no matter what role he’s playing, is always reliable. 

It’s easy to see a lot similarities to The Beekeeper for a recent example. Statham, a man with a lethal set of skills, who decides to come out of retirement from his previous job as a Royal Marine to help a friend, after living a peaceful and quiet life. I’m not that excited about the story, but it’s Statham, so you can always expect a fast paced and hard-hitting old school action flick. And David Harbour should be a riot, playing the blind man, who doesn’t know he’s blind.

Coming Attractions- In The Lost Lands

 

Director- Paul W. S. Anderson

Cast- Dave Bautista, Milla Jovovich, Ian Hanmore, Caoilinn Springall, Arly Jover, Deirdre Mullins, Amara Okereke

Release Date- February 28, 2025

Not too sure about this one. I’ll admit I haven’t read the source material for In The Lost Lands. But the trailer gives off vibes for following the post-apocalyptic action/thriller playbook step by step, especially Bautista’s introduction to the story.

Dave Bautista is a versatile actor, and together with Milla Jovovich, they both have a mostly successful and consistent track record as action stars. The duo of Bautista and Jovovich has some potential, two fierce fighters tearing their way through different hellholes. A fifty-fifty reaction to the trailer for me, but fingers crossed for a fun ride, slick action sequences, and impressive set pieces. 

Coming Attractions- The Fetus

 

Director- Joe Lam

Cast- Lauren LaVera, Bill Moseley, Ariel Yasmine, Rachel Keefe, McKenzie Shea, Julian Curtis, Bobby C. King, Joe Barbagllo, Evan Towell

Release Date- Currently unknown

I read the premise before watching the trailer, and Hell Baby (2013) is the first movie that popped into my head for a comparison. You can clearly see a good amount of comedic moments, but going by the trailer, The Fetus definitely has a more serious tone. 

I’m all in for this one. Bill Moseley is absolutely hilarious in the trailer. They’re teasing a lot of zaniness and over the top gore and violence, and The Fetus could be a sleeper hit for horror flicks this year.

Underwater (2020)

 

**This post contains spoilers**

The Story- Norah (Kristen Stewart), a mechanical engineer at an underwater research and drilling facility, rushes to safety after a sudden disturbance causes severe damage, killing a number of her fellow crewmates. Led by Captain Lucien (Vincent Cassel), Norah, Rodrigo (Mamoudou Athie), Liam (John Gallagher Jr.), Emily (Jessica Henwick), and Paul (T.J. Miller) all struggle to survive with a limited number of escape pods and resources. Captain Lucien’s solution? Walk across the seafloor of the Mariana Trench to the Roebuck Station using special hi-tech suits.

The risky mission takes a bizarre turn, when the crew realizes they’re being hunted and picked off by deadly creatures. Pushing forward is the only option, as the crew carefully travels to Roebuck, and Norah is forced to make a difficult decision. 

My Thoughts- Kristen Stewart’s performance as Norah truly encapsulates how you would expect someone to react to an unprecedented situation, especially a situation that involves vicious monsters. The anxiety, torn emotions for making tough choices, and the emotional weight of realizing you might die, without a funeral or a proper burial. Norah is compassionate, selfless, and scrappy, the unlikely heroic character, who has to push through one brutal loss after another, when she realizes she can’t save everyone. 

Vincent Cassel delivers a solid performance as Captain Lucien. Lucien, the leader, who strongly prioritizes the safety of his crew over everything, including his own well-being, while constantly trying to reassure the crew that everyone will make it out alive. 

The rest of the crew? It’s a familiar set of characters you’ll notice from other similar horror films. T.J. Miller’s Paul is the jokester and the comic relief character, who’s obsessed with Alice In Wonderland (he also carries around a stuffed rabbit). Emily freaks out and panics at the first signs of danger. John Gallagher Jr. has a healthy sense of humor as Liam, just a step below Paul for laughs, as the guy, who lightens the mood after, or during the more serious moments throughout the movie.

Rodrigo, Lucien, and Paul are all dead. So what’s next? Cthulhu appears! Things go from bad to worse, when Norah spots Cthulhu at the Roebuck Station. Great execution, good timing, and a nice surprise for the Cthulhu reveal. The shot with Norah shooting the flare gun, leading to the flash that reveals Cthulhu’s monstrous figure really works as an awe-inspiring visual.

Norah sacrificing herself to save Emily and Liam? Not too shocking, because as soon as Norah noticed the damaged escape pod, you knew what was coming. Still, it’s a strong ending, and a thrilling emotional roller coaster. Emily pleading with Norah to reconsider her choice, the pods containing Liam and Emily racing to the top, while they’re chased by Cthulhu, and the other creatures, and that massive explosion. Norah, after Lucien’s death, filled the role of the leader, who had to make gut-wrenching decisions. 

I did get a kick of Kristen Stewart’s defiant and calm demeanor before she destroyed the Roebuck Station. Norah’s final words about being lost in the darkness, including the final “let’s light this s*** up” zinger right before the explosion engulfs Cthulhu and the creatures? That’s how you stick the landing for a fantastic ending!

Underwater is a strange case for me. The movie is set 2050, creepy and menacing creatures, and the BIG reveal towards the end for a legendary creature is a good jaw-dropper. But there’s just something missing in Underwater. Considering the material they had to work with, there’s a noticeable lack of oomph, or consistent sparks here. 

One problem for me is they relied on one too many jump scares. That, and outside of Norah and Lucien, the rest of the crew features too many thin characters. Also, I was hoping they would’ve explored the obvious coverup from the company, and the moral dilemma about drilling in the ocean, something Emily touched on earlier in the movie. 

But Underwater is still a solid and entertaining sci-fi horror film. Underwater quickly bursts out of the gate, because the chaos starts within the first ten minutes. There’s a good balance of running from and fighting off the creature’s attacks, and the crew sharing heart-to heart moments with each other, or joking around, allowing the story to breathe, when it needs to at certain points. 

Norah and Lucien’s relationship is one of the bigger highlights in the movie, with Lucien relying on, trusting, and pushing Norah to believe in herself. A strong sense of claustrophobia in tight spaces, some decent laughs, a good amount of genuinely tense scenes with the creatures, the attacks, and the main characters waiting for the right moment to make a move, fight back, or escape. The methods used for the deaths and the kills are kind of repetitive, but there’s still a lot of brutality for a PG-13 horror film, toeing the line for the necessary squirmy reactions, without needing graphic levels of gore and gruesome kills. 

And I can’t say enough about how much I loved the ending. Predictable with how everything played out? Yes, but the last stand still packs a strong enough punch to get the job done.

Rating- 7/10

Underwater (2020)(Minor Spoilers)

 **This post contains MINOR spoilers**

The Story- Norah (Kristen Stewart), a mechanical engineer at an underwater research and drilling facility, rushes to safety after a sudden disturbance causes severe damage, killing a number of her fellow crewmates. Led by Captain Lucien (Vincent Cassel), Norah, Rodrigo (Mamoudou Athie), Liam (John Gallagher Jr.), Emily (Jessica Henwick), and Paul (T.J. Miller) all struggle to survive with a limited number of escape pods and resources. Captain Lucien’s solution? Walk across the seafloor of the Mariana Trench to the Roebuck Station using special hi-tech suits.

The risky mission takes a bizarre turn, when the crew realizes they’re being hunted and picked off by deadly creatures. Pushing forward is the only option, as the crew carefully travels to Roebuck, and Norah is forced to make a difficult decision. 

My Thoughts- Kristen Stewart’s performance as Norah truly encapsulates how you would expect someone to react to an unprecedented situation, especially a situation that involves vicious monsters. The anxiety, torn emotions for making tough choices, and the emotional weight of realizing you might die, without a funeral or a proper burial. Norah is compassionate, selfless, and scrappy, the unlikely heroic character, who has to push through one brutal loss after another, when she realizes she can’t save everyone. 

Vincent Cassel delivers a solid performance as Captain Lucien. Lucien, the leader, who strongly prioritizes the safety of his crew over everything, including his own well-being, while constantly trying to reassure the crew that everyone will make it out alive. 

The rest of the crew? It’s a familiar set of characters you’ll notice from other similar horror films. T.J. Miller’s Paul is the jokester and the comic relief character, who’s obsessed with Alice In Wonderland (he also carries around a stuffed rabbit). Emily freaks out and panics at the first signs of danger. John Gallagher Jr. has a healthy sense of humor as Liam, just a step below Paul for laughs, as the guy, who lightens the mood after, or during the more serious moments throughout the movie.

Underwater is a strange case for me. The movie is set 2050, creepy and menacing creatures, and the BIG reveal towards the end for a legendary creature is a good jaw-dropper. But there’s just something missing in Underwater. Considering the material they had to work with, there’s a noticeable lack of oomph, or consistent sparks here. 

One problem for me is they relied on one too many jump scares. That, and outside of Norah and Lucien, the rest of the crew features too many thin characters. Also, I was hoping they would’ve explored the obvious coverup from the company, and the moral dilemma about drilling in the ocean, something Emily touched on earlier in the movie. 

But Underwater is still a solid and entertaining sci-fi horror film. Underwater quickly bursts out of the gate, because the chaos starts within the first ten minutes. There’s a good balance of running from and fighting off the creature’s attacks, and the crew sharing heart-to heart moments with each other, or joking around, allowing the story to breathe, when it needs to at certain points. 

Norah and Lucien’s relationship is one of the bigger highlights in the movie, with Lucien relying on, trusting, and pushing Norah to believe in herself. A strong sense of claustrophobia in tight spaces, some decent laughs, a good amount of genuinely tense scenes with the creatures, the attacks, and the main characters waiting for the right moment to make a move, fight back, or escape. The methods used for the deaths and the kills are kind of repetitive, but there’s still a lot of brutality for a PG-13 horror film, toeing the line for the necessary squirmy reactions, without needing graphic levels of gore and gruesome kills. 

And I can’t say enough about how much I loved the ending. Predictable with how everything played out? Yes, but the last stand still packs a strong enough punch to get the job done. 

Rating- 7/10

New Year’s Evil (1980)

 

**This post contains spoilers**

The Story- Diane Sullivan, known to her fans as Blaze (Roz Kelly), prepares to host Hollywood Hotline, a New Year’s Eve countdown celebration. But the bash is interrupted, when Blaze receives a series of disturbing phone calls from a stranger named Evil. Evil plans to kill a different woman at the end of each countdown to the New Year across different time zones throughout the US, saving Blaze for last.

Blaze is supported and protected by her manager, Ernie (Jed Mills), Lieutenant Clayton (Chris Wallace), and Sergeant Greene (Jon Greene). But Blaze suspects something is wrong, when her assistant, Yvonne (Alicia Dhanifu) goes missing. One thing is clear, Evil is not a harmless prank caller, he’s a cold-blooded killer, who wants to see Blaze suffer. Time is running out, as Evil closes in, and Blaze is forced to deal with shocking revelations from her husband, Richard (Kip Niven), and her son, Derek (Grant Cramer). 

My Thought- Roz Kelly is a nice fit for Blaze. She brings the kind of cool superstar persona you’d expect for someone, who’s supposed to be the “First Lady Of Rock.” The flashy clothes and the big red hairdo really pulls everything together for Blaze, and Blaze is a bit of a diva.

Evil is a crafty, smart, and sadistic killer, recording the sounds of each murder for Blaze. He’s a dangerous chameleon, switching identities including, a priest, a sanitarium worker, or a suave ladies’ man, who drives a Mercedes. Evil is a merciless psychopath, driven by misogyny. 

Evil targets promiscuous women, but there’s one scene that really sticks out for me. Evil, dressed as a priest, steals a car with a young woman (Teri Copley) in the backseat at a drive-in. She offers him sex, telling Evil they could “get it on,” because she’s scared, and she’s hoping Evil will let her go, if they do. Evil ignores the request, pulls out his switchblade, and he chases the woman around, hoping to kill her. This scene provides one of the many examples that shows how much Evil truly hates women. He never has sex with any of his victims, because it’s not about that. He wants to punish women. And you’ll notice Evil has a disgusted reaction, when the young woman mentions sex.

The voice? Oh, boy. Evil uses a distorted voice for his phone calls with Blaze. His phone voice is really over the top and silly.”It’s EEEEEEEVILLLLLLL!” Or, “I’m going to commit MURDER at midnight!”  The first time I heard Evil introduce himself over the phone, I laughed, and it gets funnier throughout the movie, especially during scenes, where Evil is trying to convince Blaze that he means business. Why is the killer talking in THAT kind of voice, when he’s describing how he murders women? The phone call scenes should’ve had a more serious tone, but I couldn’t stop laughing. 

Richard is Evil! That’s right Richard is the killer. It’s a good surprise, considering how they set it up. Richard was supposed to be MIA. Blaze’s elated reaction for Richard’s arrival, followed by her confused and heartbroken disappointment for everything that he’s done works as a successful reveal.

Of course, Richard’s explanation for the killings involves more venomous misogyny. He resents all women, including Blaze for destroying his life. The final nail in the coffin? A paranoid Richard believes Blaze is ruining Derek, who already has a few loose screws, so Richard decided to put a stop to it. 

Is Blaze a workaholic, who neglects her husband and her son? Does she have an ego? Yeah, you could say that, but her heart is in the right place. And Richard is still a scumbag. Kip Niven is appropriately creepy and unhinged during his “ladies are not very nice people” rant. He whines about Blaze restricting his allowance and “castrating” him, and you’ll quickly realize Evil is just a bitter loser, who blames all of his setbacks in life on women.

The cliffhanger really didn’t do anything for me. It’s not surprising Evil jumped from the roof to commit suicide. He was a coward, who didn’t want to face any consequences. The ending reveals Derek secretly killed the ambulance driver. He drives off with an injured Blaze on a stretcher, as the countdown to the New Year in Hawaii begins.

Derek is clearly following in his father’s footsteps. There’s more than enough evidence that proves Derek is completely nuts. The guy wears pantyhose on his face, he’s clearly dealing with mental problems, and Derek also resents Blaze. There’s a lot of similarities for Richard and Derek’s relationship with Blaze. Notice how Richard and Derek are happy to see Blaze, when they arrive at the hotel. But Blaze sort of shuns both of them, Richard and Derek take it personally, and Derek is devastated, when he sees Richard’s body on the pavement. Hell, after all the madness, Derek is STILL angry with Blaze during the final moments of the movie.

Derek’s place in the story is a weird case. It’s obvious he’s not the killer, but Derek gets a good amount of screen time. Yes, I know he plays a big role in the cliffhanger during the ending. Still, there’s more than one scene featuring Derek being a weirdo and doing strange things, and nothing happens? The only reason I can think of for Derek’s appearances and all the teasing is, they were possibly setting things up for a sequel, where Derek becomes Evil’s successor.

New Year’s Evil has always been one of those mixed bag horror films for me. The kills are brutal enough, grisly images (e.g. Yvonne’s severed head in the elevator shaft), and Evil is an effective slasher villain. Meshing the feel of the 1980’s with a strong new wave rock vibe, including the music, gives New Year’s Evil a unique identity. And a few decent laughs for the comical grunginess from the punk rock kids and the biker gang.

Working the New Year’s Eve countdown into the story for a holiday horror film builds a decent amount of suspense. You know for sure this is a movie about New Year’s Eve, but my big problem with New Year’s Evil is, the movie just drags too much and it’s kind of dull. Evil using the elevator to torture Blaze? That’s all I can think of for a big moment here. Outside of that scene, nothing really jumps off the screen to grab your attention.

New Year’s Evil is a decent enough 80’s slasher and a holiday horror film. A lot of corny moments, and New Year’s Evil has the kind of cheesiness you’d expect from an obscure 80’s horror flick. I also wish Evil had more scenes with the mask he wore at the end, because it’s a good mask. 

Honestly, there’s only so much you can do with New Year’s Eve celebrations as a foundation. Sure, you can put a spin on New Year’s resolutions, the countdowns, partying, drinking, champagne, and that’s about it? Still, some strong bonus points for a good performance from Kip Niven, because Niven pulls out all the stops for Richard. And Roz Kelly really holds her own well in the leading role.

Rating- 5/10

New Year’s Evil (1980)(Minor Spoilers)

 

**This post contains MINOR spoilers**

The Story- Diane Sullivan, known to her fans as Blaze (Roz Kelly), prepares to host Hollywood Hotline, a New Year’s Eve countdown celebration. But the bash is interrupted, when Blaze receives a series of disturbing phone calls from a stranger named Evil. Evil plans to kill a different woman at the end of each countdown to the New Year across different time zones throughout the US, saving Blaze for last.

Blaze is supported and protected by her manager, Ernie (Jed Mills), Lieutenant Clayton (Chris Wallace), and Sergeant Greene (Jon Greene). But Blaze suspects something is wrong, when her assistant, Yvonne (Alicia Dhanifu) goes missing. One thing is clear, Evil is not a harmless prank caller, he’s a cold-blooded killer, who wants to see Blaze suffer. Time is running out, as Evil closes in, and Blaze is forced to deal with shocking revelations from her husband, Richard (Kip Niven), and her son, Derek (Grant Cramer). 

My Thought- Roz Kelly is a nice fit for Blaze. She brings the kind of cool superstar persona you’d expect for someone, who’s supposed to be the “First Lady Of Rock.” The flashy clothes and the big red hairdo really pulls everything together for Blaze, and Blaze is a bit of a diva.

Evil is a crafty, smart, and sadistic killer, recording the sounds of each murder for Blaze. He’s a dangerous chameleon, switching identities including, a priest, a sanitarium worker, or a suave ladies’ man, who drives a Mercedes. Evil is a merciless psychopath, driven by misogyny. 

Evil targets promiscuous women, but there’s one scene that really sticks out for me. Evil, dressed as a priest, steals a car with a young woman (Teri Copley) in the backseat at a drive-in. She offers him sex, telling Evil they could “get it on,” because she’s scared, and she’s hoping Evil will let her go, if they do. Evil ignores the request, pulls out his switchblade, and he chases the woman around, hoping to kill her. This scene provides one of the many examples that shows how much Evil truly hates women. He never has sex with any of his victims, because it’s not about that. He wants to punish women. And you’ll notice Evil has a disgusted reaction, when the young woman mentions sex.

The voice? Oh, boy. Evil uses a distorted voice for his phone calls with Blaze. His phone voice is really over the top and silly.”It’s EEEEEEEVILLLLLLL!” Or, “I’m going to commit MURDER at midnight!”  The first time I heard Evil introduce himself over the phone, I laughed, and it gets funnier throughout the movie, especially during scenes, where Evil is trying to convince Blaze that he means business. Why is the killer talking in THAT kind of voice, when he’s describing how he murders women? The phone call scenes should’ve had a more serious tone, but I couldn’t stop laughing. 

Derek’s place in the story is a weird case. It’s obvious he’s not the killer, but Derek gets a good amount of screen time. Yes, I know he plays a big role in the cliffhanger during the ending. Still, there’s more than one scene featuring Derek being a weirdo and doing strange things, and nothing happens? The only reason I can think of for Derek’s appearances and all the teasing is, they were possibly setting things up for a sequel, where Derek becomes Evil’s successor.

New Year’s Evil has always been one of those mixed bag horror films for me. The kills are brutal enough, grisly images, and Evil is an effective slasher villain. Meshing the feel of the 1980’s with a strong new wave rock vibe, including the music, gives New Year’s Evil a unique identity. And a few decent laughs for the comical grunginess from the punk rock kids and the biker gang.

Working the New Year’s Eve countdown into the story for a holiday horror film builds a decent amount of suspense. You know for sure this is a movie about New Year’s Eve, but my big problem with New Year’s Evil is, the movie just drags too much and it’s kind of dull. Evil using the elevator to torture Blaze? That’s all I can think of for a big moment here. Outside of that scene, nothing really jumps off the screen to grab your attention.

New Year’s Evil is a decent enough 80’s slasher and a holiday horror film. A lot of corny moments, and New Year’s Evil has the kind of cheesiness you’d expect from an obscure 80’s horror flick. I also wish Evil had more scenes with the mask he wore at the end, because it’s a good mask. 

Honestly, there’s only so much you can do with New Year’s Eve celebrations as a foundation. Sure, you can put a spin on New Year’s resolutions, the countdowns, partying, drinking, champagne, and that’s about it? Still, some strong bonus points for a good performance from Kip Niven, because Niven pulls out all the stops for Richard. And Roz Kelly really holds her own well in the leading role.

Rating- 5/10