The Science Fiction Horror and Fantasy Film Review
This is a killer shark film that is not taking itself too seriously. In their pursuit for the most absurd monster movie title, The Asylum have managed to get the balance of cheap effects and tongue-in-cheek treatment down near perfectly. The first in a series from The Asylum where each sequel added more heads.
Lavalantula with Steve Guttenberg facing giant fire-breathing spiders was a modestly enjoyable creature feature. This sequel feels like a Sharknado wannabe with shittier effects and an unfunny sense of humour
The greatest science-fiction film ever made? Stanley Kubrick goes against all convention – the film is slow, has no clear story and reaches an enigmatic ending and yet it is a work of brilliance, both visually and in terms of effects technology
Eli Roth-produced remake of the Herschell Gordon Lewis splatter film Two Thousand Maniacs, this plants tongue in cheek, is fairly and squarely aimed at a frat boy audience and unapologetic about piling on copious amounts of gore and naked breasts
Sequel to the outrageously gory 2001 Maniacs, although here the horror comedy balance spills over into absurd farce and cheap gore effects. Crucially, the film seems cheaper and less polished, more messy and random in terms of its arrangements
2001: A Space Odyssey did not need a sequel but this fits the bill surprisingly well. A warmer and much more human film than Stanley Kubrick made, this has some of the very best effects of its era.
Roger Corman produced film where Brooke Adams realises that something sinister might be happening with her pregnancy
Sequel to Under Siege in which Steven Seagal was a lone individual in a Die Hard scenario defending a battleship against a terrorist takeover; this is the same but with Seagal defending a train
Sequel to Graveyard Shift with a vampire appearing on a vampire film set and taking over the role in the film
This stirs a bunch of elements from the late 90s vampire film and dark poses from the graphic novel to create a slick vampire action film. Several sequels followed.
Yet another entry that nobody asked for in a conceptually threadbare series that nobody seems to like … passably better than the last two sequels due to some ok action moves but still empty-headed in terms of ideas
I am at a loss to understand who the audience for the Underworld films is – they are films devoid of minimal requirements like plotting and seem to only exist as a series of forgettable action sequences and interchangeable Gothic poses by characters in black leather – and yet we keep getting more of them
The second of the Underworld films where Len Wiseman gets a bigger budget and amplifies the CGI and action sequences,. On the other hand, the characters and story are so stripped to a minimum you lose track of why things are happening
Third of the Underworld films, a prequel to the previous entries. In truth, it is just the same as the others – lots of kinetic action moves and Gothic poses with little in the way of plot
One of the most unique films in some time – everything takes place across social media (chat sessions, video calls) where the cinema screen is the computer screen. A fairly average supernatural retribution story that generates reasonable tension
Unfriended had a unique novelty approach – everything took place in one take where the film screen was a computer screen. You wonder what a sequel can add to this. The surprise is that we get a film even better than the original
The first of two cheap Universal Soldier sequels made in Canada with Matt Battaglia inheriting Jean-Claude Van Damme’s role
he second of two cheap video-released sequels to the Jean-Claude Van Damme film. This has the novelty of featuring Burt Reynolds as the bad guy
The first studio film from Roland Emmerich, a loud, noisy action featuring Jean-Claude Van Damme and Dolph Lundgren as Vietnam Vets resurrected as super-soldiers
Sixth entry in the series, this throws out all the themes the previous sequels operated by and feels like a Universal Soldier film written by Philip K. Dick with utterly fascinating results. John Hyams hits in with a brutal intensity that shows he is one of the most exciting up and coming action directors
The fifth of the Universal Soldier films reuniting both Jean-Claude Van Damme and Dolph Lundgren, while being given a tough, brutal action punch by director John Hyams
Sequel to Roland Emmerich’s Universal Soldier, this brings back Jean-Claude Van Damme but otherwise substitutes a brain dead plot that has him facing an evil A.I.
One of the spate of H.P. Lovecraft adaptations that came out in the late 80s/early 90s. This feels like an effort by earnest amateurs but does take its Lovecraft seriously unlike most of the other films of this cycle.
A sequel to the earlier H.P. Lovecraft adapted film The Unnamable. Despite having a bigger budget, this is no more of an improvement over its predecessor
Following the success of Scream, this was an attempt to make an upmarket slasher film based around the motif of urban legends in the same way that Scream used 1980s slasher films. It is a stretch to make urban legends fit in some cases but director Jamie Blanks delivers reasonable tension
The third of the Urban Legend films, unconnected to any of the previous two. This lamely tries to stretch the thin premise out to a story of high school supernatural vengeance
Sequel fairly much in name only to Urban Legend and barely at all about urban legends, this has the amusing idea of taking place at a film school and features a number of sly asides. This alas befalls routine direction
The first of two OVA sequels to the anime classic Legend of the Overfiend, this lacks the perverse imagery of the original
Very popular mini-series during its day (that was followed by a tv series) concerning the alien invasion and occupation of Earth, this has an utter banality that fails on almost every level – as human drama, science and even basic plausibility
Seventh of the V/H/S Found Footage horror anthologies, this is one of the best with a number of the episodes venturing into SF and others that feature some genuinely outlandish moments
Follow-up to the popular V mini-series, this is an absurd melodrama that is made up of incredibly bad science-fiction writing and directed with zero plausibility
A reasonable film clearly influenced by Hostel with Luke Wilson and Kate Beckinsale as a married couple who sign into a backroads motel used to shoot snuff movies
Passable sequel (or rather prequel) to the remote motel snuff movie thriller Vacancy. Even though a throwaway effort, it manages to build an okay head of steam
This is essentially intended as a gay version of Twilight and features a near-identical plot in which a vampire fixates on a youth and decides he is his true love.
Cult anime about a monosyllabic vampire hunter moving across a hallucinatory post-apocalyptic dispatching mutants and vampires
Yoshiaki Kawajiri, director of Ninja Scroll and Wicked City, steps in to make a sequel(?)/reboot(?) to the cult 1985 anime with visually enthralling regard
The first in Hammer’s trilogy of lesbian vampire films, an adaptation of the classic story Carmilla. Unfortunately in Hammer’’s hands, the story’s subtlety is killed by an emphasis on softcore titillation
John Carpenter revitalises the vampire film with a sharp action edge as James Woods heads a team of vampire hunters. Woods gives a ferociously determined performance way above and beyond the call of duty
Sequel to John Carpenter’s Vampires given over to his regular associate Tommy Lee Wallace, this looks tatty in trying to replicate the action sequences on a B-budget and with the script holes showing through
Supposedly a second sequel to John Carpenter’s Vampires but of little connection otherwise, this is a film of uneven effect about warring vampire clans in Thailand
The second of Amicus Films’ adaptations from EC Comics, a follow-up to their earlier Tales from the Crypt and one of their weaker horror anthologies with the episodes much more variable in overall quality
The third of the fifilms with Christopher Lee as the Chinese super-villain Fu Manchu and generally the point the series started to go downhill
Anything with the Marvel Comics name on it is box-office gold. This spins a standalone film off from one of the main villains of the Spider-Man comic-book. This is watchable by several showstopping effects set-pieces.
The first sequel to the passable Venom. Next to Batman & Robin, this could be a strong contender for the worst big-budget superhero film ever made
The third of the Venom films, which has become one of the worst of the modern Marvel spinoffs. By this point any pretence that the films are taking themselves seriously has been long forgotten
The third film in the series of stoner comedies trips off into gonzo genre territory. A relentlessly and unashamedly vulgar film that also manages to be occasionally quite funny
An anthology of five short Found Footage horror films each from a different director. As with any anthology these are variable in tone but are on the whole mostly effective and contain a number of alternately unearthly and spooky moments
Sequel to the modest success of V/H/S, an anthology of short Found Footage horror films featuring a different line-up of genre directors. The episodes are competent at best, none standout and mostly forgettable
The popular V/H/S series, an anthology of Found Footage horror tales, is revived for a fourth entry
The fifth film of the Found Footage horror anthology series, including one episode that is among the best of the series so far
Third of the V/H/S films, all horror anthologies in the Found Footage style. While the other two were fairly hit and miss, this is extremely good. Each of the four stories sits among the very best episodes among the current crop of multi-director horror anthologies
The sixth entry among the popular multi-director anthology series, this includes episodes from Scott Derrickson among others but is also one of the weaker of the V/H/S films overall
Adam Green has enjoyed some success with the Hatchet films; this is the fourth entry in the series … Most of the other films have consisted of not much more than buckets of gore and a host of genre cameos – here though, Green adds a considerable sense of humour to the mix
Classic adaptation of the John Wyndham novel about the women in a sleepy English village being impregnated and producing emotionless alien children with vast psychic powers. This translates the paranoia of US alien invasion films with considerable effectiveness
Boundary-pushing film that consists almost entirely of very enthusiastic splatter and gore scenes. Amateurishly shot on video nevertheless this gained a cult following and produced sequels
The original i>Violent Shit films were a series of plotless, gore-drenched German films of the 80-90s. This is a very loose Italian-made remake that is more about the activities of an occult serial killer. Not very well made but there are a lot of homages to classic giallo cinema
One of the numerous Virtual Reality films to come out in the mid-90s, this seems undecided whether it wants to be an SF or an erotic film
Hilarious French comedy where a filthy Mediaeval knight and his servant are transported into the present-day
Russian-made adaptation of a classic horror story that takes place as an exquisitely stylised 19th Century Gothic fantasy world but is a head-scratchingly incoherent mishmash on a plotting level
Fourth of the original Star Trek films jumps on board the popularity of time travel themes following Back to the Future to have the regulars time travel back to the present for a series of amiable, easy comic encounters
The film that inspired the popular tv series. As always with Irwin Allen, stolid dramatics, bad science and colourful spectacle
Aardman Animation give Wallace and Gromit their second film outing
Chinese attempt to make a Roland Emmerich-type mass destruction spectacle about the moving of the Earth. Much effects spectacle but the film suffers from plain absurd science
Prequel to the Chinese spectacular about the construction of an engineering project to move the Earth, this comes with some epic-sized effects sequences
Bert I. Gordon makes a sequel to The Amazing Colossal Man. The film cheats where a good chunk of running time is padded with footage from the original
From Ishiro Honda, the creator of Godzilla, this bizarrely features two giant Frankenstein monsters battling it out. A fairly typical Japanese monster movie of its era featuring cheesily ridiculous rubber monsters, copious mass destruction and a largely irrelevant human element
The third film in the rebooted Planet of the Apes series. The motion capture effects are at an absolute peak of the art and the motion capture performances astonishing. The whole film almost seems to consist of heart-tugging moments to make you go “aww”
Where the legend of The Asylum and their low-budget mockbusters began, this was a cheap modernised version of the H.G. Wells novel that was released a day before the Spielberg film. Despite cheap effects, this adheres closer to Wells than Spielberg did and is better written than most Asylum product
Released just before the Spielberg film, this was an adaptation of the H.G. Wells novel set in the Victorian period that attempts to tell the story as it was written. The film has ambition way beyond the resources at hand but you cannot help but applaud what it tries to do
Sequel to The Asylum mockbuster version. Sequelising H.G. Wells is a daunting prospect and not too surprisingly this throws much of Wells out and creates its own film, which is undercut by a typical Asylum low budget
This was the first film to ever depict the internet with Matthew Broderick as a teen innocent hacker who accidentally hacks in and triggers a nuclear alert thinking he is playing a computer game
WarGames was a thriller that was way ahead of its time; this sequel is no more than video fodder exploiting recognition factor that reduces the original to hacker movie cliches in a technically ill-informed and incoherent plot
Richard E. Grant is a witchfinder who pursues warlock Julian Sands through a time vortex into the present day. David Twohy’s script takes all the Old Wives’ tale aspects of Middle Ages superstition seriously to immensely entertaining regard
Julian Sands returns in a sequel to Warlock where the frequently unserious effects of director Anthony Hickox turn it into a silly comic-book of a film
Third and final of the Warlock films where Julian Sands is replaced by Bruce Payne
Entry from they heyday of Hong Kong’s Wu Xia cycle. By this point, the moves had become so over-the-top the film verges on the cartoonish, all with rather entertaining results
Dean R. Koontz adaptation in which Corey Haim adopts an unusually intelligent dog unaware it is part of a genetically engineered killing machine. Produced by Roger Corman who spun out a series of sequels.
The first of three sequels to the Dean R. Koontz adaptation about an intelligent dog, although for each sequel producer Roger Corman has just remade the book
An animated adaptation of Alan Moore’s classic, genre defining comic-book, this is the most faithful treatment to date
The second part of DC Universe Animated Original Movies’ adaptation of Alan Moore’s classic graphic novel, the most faithful screen adaptation yet
Sequel to Anthony Hickox’s Waxwork, which ups the number of horror homages but suffers a low budget
Robert Rodriguez appears to have gotten the oversized non-event that was Alita: Battle Angel out of his system by making another of his seat of the pants home movies – this is less Spy Kids than Superhero Kids – and brings back one element Alita forgot, a sense of fun
The first Weekend at Bernie’s had the lame concept of two jerks forced to pretend that their boss’s body was still alive. For the sequel, the body is resurrected by voodoo
John Hughes cornered a certain 80s market on teen angst with films like The Breakfast Club. He also made this head-scratching oddity in which two nerds create the perfect woman
The third of Spanish star Paul Naschy’s films about the werewolf Waldemar Daninsky. This becomes a crossover where Daninsky meets up to fight Countess Bathory
Seventh of the A Nightmare on Elm Street films where Wes Craven returns to direct the most remarkable of all the sequels, an extraordinary meta-fiction that takes place in the real world
A hit for novelist Michael Crichton who made his directorial debut here. Themes of machines going amok run throughout Crichton’s work and here he comes up with the ingenious idea of a Western simulation playground using androids that proceed to turn against the humans
The original babysitter stalker film based on a short film that was then expanded out to feature-length following the success of Halloween
When a Strange Calls is one of the overlooked entries of the original slasher fad but was quite a hit in its day. This is a forgotten sequel that does some undeniably interesting things with the basics.
Strong and absorbing serial killer thriller with Ally Walker tracking a killer who severs children’s hands
Ghost story about so-called Electronic Voice Phenomenon with Michael Keaton as a widower being contacted from beyond by his late wife. A film that achieves some quite reasonable spooky effect
A sSequel in name only to White Noise, this is a very silly film with Nathan Fillion returning from a near-death experience able to see the auras of those about to die
The second half of the film adaptation of the musical Wicked. This essentially operates as Wizard of Oz fanfiction and substantially wrenches the characters and backstories from the 1939 film out of shape to write its own story
The first half of a two-part adaptation of the hit Broadway musical that is a prequel to The Wizard of Oz, showing The Wicked Witch’s origin story
Classic horror film that imagines a secret world of pagan rites existing into the modern day. As much a classic for its colourful creation of a folk culture as it is for an unforgettable ending
Sold as a sequel to The Wicker Man, although works as more of an update and expansion of its themes. Received a muted reception but is a not entirely uninteresting film, if nowhere near the league of the original
Fine little tale of an introverted man who befriends a horde of rats and uses these to gain comeuppance. A hit that presaged a host of Animals Attack films throughout the 1970s.
A Roald Dahl children’s film that has become a cult classic, set in a deliriously nonsensical world with Gene Wilder give a sinisterly threatening performance in the title role
Wim Wenders’ exquisitely lovely film about angels that hover over West Berlin invisibly observing the human condition. One of the most beautiful of all paeans to the human condition.
Yes, someone made a horror version of the much loved children’s character. Imagine The Texas Chain Saw Massacre where Leatherface has been replaced by Winnie-the-Pooh