The Craft (1996)
A smart and well cast film about a quartet of modern teen high school girls who form a coven of witches. This starts well but loses it in an overblown second act
The Science Fiction Horror and Fantasy Film Review
A smart and well cast film about a quartet of modern teen high school girls who form a coven of witches. This starts well but loses it in an overblown second act
One of the worst among the usually worthwhile Japanese monster movie revivals of the 1990s. Much of the film is played down at an inanely silly children’s movie level, with there only being the requisite mass destruction effects to enliven the show
A low-budget action copy of RoboCop starring David Bradley as a DEA agent up against drug lord John Rhys-Davies who has transformed his brother into a cyborg
The third of the Crow films has a more substantial story than the second but is killed by a director who has no feel for the atmosphere created by the other films
A head-scratching oddity from the people behind Winnie-the-Pooh: Blood and Honey with people enter in a reality tv show where they are hunted by dinosaurs within the confines of a hotel
The second of Star Trek creator Gene Roddenberry’s unsold Genesis II pilots. While you can see the series had some potential, the plot about the venture to a society where women keep men as slaves has a giggly silliness that feels like a throwback to 50s films like Queen of Outer Space
The Platform offered a striking allegory with a prison where a banquet table of food moved down 300 levels each day. This is a sequel
Slasher film where a girl is hired as a housekeeper in a remote location only to find she is being stalked by a masked killer and forced to survive with her bare hands. Two sequels followed.
The second in a trilogy of slasher films about people being staked by a maniac at a backwoods cabin while everything is secretly being filmed by tv cameras
Third of a trilogy of slasher films where people isolated at a cabin are stalked by a hulking maniac in a barbed wire mask. This mixes the formula of the previous films up in some interesting ways
Disney bases an animated film on the historical character but warps the story considerably. It feels that this is a Disney animated film made more to adhere to Political Correctness than it is a good one
A sequel to the Eddie Murphy Dr Dolittle remake. This is still an insult to the original stories but under director Steve Carr at least proves a more amiable comedy than the first film did
The third of the Poltergeist sequels, which moves the locale to an apartment building and is better than its predecessor thanks to a series of eerie mirror effects
Produced by Bloody Disgusting, an anthology from different directors about a series of mysterious alien portals that appear around the world
Enchanted in which Amy Adams played an animated fairytale princess entering the real world was a reasonable hit. This is the long-planned sequel that reunites the principals but feels like a joke that belabours in the retelling
From the early days of Hammer Films, one of several films based on Dick Barton, a popular radio hero. A progenitor of the spy movie with the title hero trying to prevent foreign agents unleashing a deadly sonic ray
Doctor Strange was one of the better MCU films. Here Sam Raimi takes over in the director’s chair. This readily delves into multiverse themes but requires a major crash course in a plethora of Marvel tv series to follow
The Predator series continues. Dan Trachtenberg, the director of Prey, makes an animated offering that tells three stories of encounters between human and Predator in different eras of history
The third of the Prom Night films, a direct follow-on from the second in which Mary Lou becomes a campy Freddy Krueger-like villain firing off bad puns amid her dispatches
Ridley Scott’s promised prequel to Alien. The first half creates epic mystery but the answers provided are not nearly as interesting as promised, while the latter half disappointingly settles for doing the Alien standard with decidedly lesser effect
The third of the new series of films based on the cult Italian comic-book about a masked super-thief. This entry goes back to offer us a Diabolik origin story
The third of the Prophecy films with Christopher Walken as the angel Gabriel. This time the wry humour and interplay of ideas of the other films feels more thinly drawn
Inferior sequel to the modest Devil in the Flesh which had Rose McGowan as a psychopathic schoolgirl. Recast with Jodi Lyn O’Keefe, this is now a routine slasher effort
The fourth of The Prophecy films about war between angels, the first to be made without Christopher Walken with Sean Pertwee as a detective in Bucharest who is drawn in
The 20th Toho monster movie where the studio decided to gather Godzilla and all the other monsters under their roof together for a massive tag team brawl. Disappointingly, the monsters are upstaged by space opera elements for long sections
More from the world’s cuddliest super-villain and those manic ritalin-deprived kids that are the Minions. Is there are life and creativity left in a franchise that has been milked for six films now?
From the heyday of the 1980s VHS release, a slasher film with the requisite group of partying teens being stalked by a psychopathic, devil-worshipping police officer
As part of the mid-00s fad for English-language remakes of Japanese horror films, Kiyoshi Kuroawa’s unfathomable but undeniably creepy internet horror is reworked as a standard teen film
The second of Disney’s spinoffs from Pixar’s Cars films featuring talking anthropomorphic planes. Like the first film, this is amiable and occasionally cute but lightweight. This is beginning to feel like a franchise that is spinning out thinning ideas solely for its own sake
The Pirates of the Caribbean franchise is revived for a fifth outing. There is a new director in Rob Marshall but bar an energetic comic opening, he never does much that hits the zany heights of the previous entries
Makeup effects artist Stan Winston takes the director’s chair and creates one of the truly original monsters of the 1980s. Several sequels followed
Sequel to the 1989 Pet Sematary that reverses the sympathies of the original – now it is a child that resurrects a parent – but this never quite finds the same effectiveness
Embrace the Darkness was a surprisingly good work of vampire erotica. This, the first of two sequels, seems more interested in being a horror film than erotica
The third of the Twilight films. This extrudes the dramatic irresolution of the last film’s cliffhanger – should Bella marry Edward or does she really love Jacob? – with over-padded momentousness
Film based on the enormously popular roleplaying game, this appears to have been quickly thrown together in advance of The Lord of the Rings films but is a shabby effort filled with some disastrous off-tone casting
Quite why the largely forgotten DragonHeart has produced four sequels is beyond me. Where does such a loyal fanbase come from that they keep churning out more of these films?
The fourth film in the Dragonheart franchise. Is there truly anybody out there who was begging for this? Cheaply made in Romania where it seems to be straining to drag the original premise out for another film
Chris Columbus seeks to emulate the success of the Harry Potter films with this adaptation of a Young Adult series about the children of Greek gods. The film falls apart due to Columbus’s typical banal cues and effects overkill
This sequel is marginally better than the first film (largely due to Chris Columbus no longer being in the director’s chair), being more dramatically engaged and with effects that feel less like random eye candy. That still doesn’t disguise the fact that the Percy Jackson series is no more than a lightweight and forgettable Harry Potter knockoff
Sequel to a largely forgotten fantasy series. While never transcending formula, this fares somewhat better than the previous sequel largely because CGI effects have advanced since the original
When the Bough Breaks was one of the better 1990s serial killer thrillers; though it didn’t need it, this is a sequel, albeit with a completely different cast. While the original was clever, this falls into drawing too much from The Silence of the Lambs, the inspiration behind both films
The first of two sequels to Dracula 2000. This is based around the idea of trying to scientifically examine a vampire’s body, sort of a vampire film by way of CSI
For their seventh Dracula films, Hammer introduced Dracula to the present-day. The result was a wild mishmash where Christopher Lee plays second fiddle to Hammer’s belated attempts to jump aboard the Swinging 60s youth scene
Full Moon production that offers the novelty of bringing together their Dollman and Demonic Toys franchises, although nearly a third of the film is comprised of recycled footage from said films
The second of two video-released sequels to Dracula 2000, this takes place with more of an action emphasis and features vampire hunters tracking Dracula across rebel-torn future Europe
The classic adaptation of the Bram Stoker novel that made Bela Lugosi into a horror icon and created the image of the vampire in dinner-suit and with East European accent. For all its stature, it is a dull and talky film and Lugosi is overwrought
Phantasm was a cult hit with its eerie otherworldly dream horrors. It spawned four sequels of which this is probably the last given that Angus Scrimm died earlier this year. The series peaked a couple of films ago and here the regulars pander to a comfortable familiarity without adding anything new to the mix
A sequel to The Philadelphia Experiment where Brad Johnson is thrown into an alternate timeline where the Nazis have overtaken the USA
This was a semi-sequel to Here Comes Mr Jordan featuring Rita Hayworth as the goddess Terpsichore descended to Earth to inspire a Broadway producer
Third of the Swedish live-action Pippi Longstocking films and more likeable than the others due to capturing some of Astrid Lindgren’s absurdism
This, which is sort of The People Under the Stairs by way of Wait Until Dark, was greeted with terms like ‘an instant classic’. It is a well-oiled machine that produces some undeniable jumps but little remains in memory after it is over
Sequel to the Piranha remake. Much the same as before but up one cup size. Well not really, the sequel is more like a joke that was funny the first time that becomes belaboured in the retelling
Another of Disney’s Tinker Bell spinoff adventures. This has some slickly produced animation and does some occasionally cute pieces of fanservice that tie in to Peter Pan but is ultimately fantasy being produced for the single digit age groups
Third of the Pirates of the Caribbean films and purportedly made without a completed script, this becomes bloated and sprawling
A thoroughly overrated cult classic. A baffling mixture of precognition, time travel, sinister talking bunnies and 1980s satire. What this doesn’t do is ever fall together into a coherent explanation about what is going on
This was the first of two sequels to the Wes Craven scripted Pulse, the English language version of Kiyoshi Kurosawa’s intensely spooky film about ghosts from the internet
The Stan Winston directed Pumpkinhead was one of the genuinely original monster movies of the 1980s. This was the first of several video-released sequels
This has a promising set-up – a series of Jack the Ripper copycat killings taking place in a modern criminology class – that turns out as no more than a standard slasher film
The second sequel to the original The Fly, which does feature more teleporter accidents and mutations but for some reason no fly hybrids this time
The first of the Resident Evil sequels and a better film than its predecessor, getting in a series of spectacular, if at times ridiculously silly, action sequences
The first in a series of anime films that were produced by Capcom, the creators of the Resident Evil videogames, and intended to run parallel to the live-action films. I was never a big fan of the live-action films. The question is – does Resident Evil work better in the anime format?
Third of the Resident Evil films. This expands the scale of action to show the entire world destroyed by the virus but for all that and a decent budget, director Russell Mulcahy fails to push the elements to a suitable head of steam
Another unnecessary entry in a creativity-handicapped series, the continuing popularity of which is baffles. This shuffles through the familiar moves, brings back several familiar characters but only leaves me asking why I have invested some nine hours of time following this series
A reboot of the Resident Evil film series under a new director with Johannes Roberts who abandons the previous action poses for a far darker and more visceral survival horror approach
This was the seventh of Full Moon’s most popular series, the Puppet Master films. This goes back to tell how young Andre Toulon (Greg Sestero) originally created the puppets
Ron Howard directed film version of Dan Brown’s best-selling book. This is historical nonsense woven into a fancifully absurd conspiracy theory where Howard does no more than offer an illustrated version of the book
From the height of the 90s RoboCop copycat video release, a sequel that this time pits DEA agent David Bradley up against an army of rogue cyborgs
The first of the sequels to the original The Fly where the scientist’s son begins his own experiments
Don ‘The Dragon’ Wilson stars as a law enforcement officer pursued by killer androids in a blatant made-for-video action movie copy of the basics of The Terminator and RoboCop
Cult director Larry Cohen makes a sequel to the Stephen King mini-series but throws most connection out to make his own wry, occasionally amusing vampire film
The first of the sequels to The Omen, this follows Damien through his teenage years as he comes into his powers. Mostly though, the film seems to exist to stage more bizarre novelty death scenes
Silent Hill was one of the best videogame film adaptations and created a genuinely uncanny atmosphere. That film’s director returns to the franchise here with more of the same but misses the mark
The second in a series of Biblical End Times films from Canada’s faith-based Cloud Ten Pictures, this offers the peculiarity of the Anti-Christ appearing in Virtual Reality
One of a number of faith-produced films we have had since the late 90s that concern themselves with the arrival of The Rapture – this one even spawned a trilogy. This is passable if you can palate the relatively light sermonising and at least better written that the Left Behind films
Not wishing to insult anyone’s beliefs but Christian cinema has produced some really bad films. With such lowered expectations, this Rapture film approaches halfway watchable with a story that somewhat resembles Mad Max 1 about a biker seeking vengeance against a decent man
A sequel entirely unrelated to The Curse only worth seeing for a series of entertaining entertainingly ridiculous effects where a man’s arm transforms into a mutant snake
Cheaply made video sequel to the Macaulay Culkin Richie Rich based on the popular comic-book character, this steals the basic plot of It’s a Wonderful Life
The third of the Japanese Ringu/Ring films. A new director means a different approach but what also becomes apparent is that the original was never intended as a series and the attempts to further draw it out result in a confusing mishmash of ideas
A revival of the popular 1970s Blind Dead series about Knights Templar zombies. In this era of zombie films homages and remakes, it is a surprise nobody has thought to do so before
The first sequel to The Crow extends the look of the original into an amazingly lit Goth designer world. However, the plot (an early work from David S. Goyer) is no more than a rehash of the first film
A sequel to R.I.P.D. that tells an origin story of how the sheriff character played by Jeff Bridges in the original became an afterlife enforcement officer
This feels like someone has simply copied the idea of a secretive law enforcement agency from and substituted the dead escaped from Hell for aliens. The two have remarkably similar story arcs, although this is far more goofily entertaining that the absurdly overblown slapstick that overtook the Men in Black sequels
Based on the survival horror videogame, this was the first in a surprisingly popular series of films. It also presaged a major return of the zombie film during the 2000s/10s, even if this only treads where George Romero went better before
A popular thriller in its day about a cop tracking a serial killer (played by Brat Packer Judd Nelson). This prefigures The Silence of the Lambs in some interesting ways. Several sequels followed
The fourth in Charles Band’s most popular series about a group of malevolent dolls. This turns the dolls into good guys and adds an Ancient Egyptian deity who despatches a Terminator robot against them
The third sequel to Death Race and the most interesting of the series. This sets up an Escape from New York scenario and has fun with bad-ass posturing in depicting the interior of the prison as a open air biker bar
The first of the long-running series of sequels to Full Moon’s Puppetmaster, this is essentially a rerun of the first film
Despicable Me was a delightful debut for Illumination Entertainment but has come close to making the studio a one-hit wonder they have milked that one hit for all they can
The third of Full Moon’s Puppet Master films, this is a prequel that explores Andre Toulon’s origins in Nazi Germany
Film based around the improbable concept of a future where on one night of each year all crime including murder becomes permissible. While this promises a rich vein of satire, the film only emerges as a variant on Straw Dogs
Slightly more interesting than its predecessor in that it takes the action out from gated communities into the streets, otherwise this offers just the same as The Purge – much in the way of heavy artillery and a patina of contemporary politics that have all the depth of a protest placard
The Purge was a routine film that caught on with audiences but the premise lacks the legs to be a franchise – for one, it is based on a future scenario that has zero plausibility. This makes paper-thin stabs in terms of social issues but all interest evaporates when the guns start blazing
Despicable Me was a charming lightning in the bottle hit. Here Illumination Entertainment merely recycle the familiar and already the cute sweetness and gags of the original are starting to feel like processed formula
A sequel to Quarantine, the English-language remake of [Rec]. Abandoning the Found Footage concept, and indeed much continuity, to the other films, this is nothing more than a standard zombie film set inside an airport terminal
Neil Marshall’s The Descent was a ferociously effective horror film that proved a sleeper success. This is an unnecessary sequel that only offers up a limited variation on the same jumps
A killer shark film by way of Jurassic Park. The perpetually terrible Renny Harlin creates something almost watchable that vies between moments of tension and the entertainingly absurd
Paul W.S. Anderson’s remake of Death Race 2000 strips the satire from the original and turns it into a modern action movie – a to-the-death car chase film set in a near-future prison
This is a British-made fantasy film in the vein of Lord of the Rings and Game of Thrones but conducted on a B-budget where it does seem to be making an effort
The first of three sequels (actually a prequel) to Paul W.S. Anderson’s Death Race, this gives the origins of Frankenstein and the Death Race. This rehashes much of the first film as generic direct-to-dvd fodder
A revival of the Nazi zombie film that comes from Norway! A hugely gore-drenched effort from Tommy Wirkola that soon plants tongue very much in cheek.