Virtual Girl (1998)
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
The Science Fiction Horror and Fantasy Film Review
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
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
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
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
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
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
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 fifth film of the Found Footage horror anthology series, including one episode that is among the best of the series so far
The popular V/H/S series, an anthology of Found Footage horror tales, is revived for a fourth entry
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
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
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
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 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
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 third of the fifilms with Christopher Lee as the Chinese super-villain Fu Manchu and generally the point the series started to go downhill
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
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
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
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
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
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
Cult anime about a monosyllabic vampire hunter moving across a hallucinatory post-apocalyptic dispatching mutants and vampires
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.
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
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
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
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
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
The first of two OVA sequels to the anime classic Legend of the Overfiend, this lacks the perverse imagery of the original
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 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
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
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
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.
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.
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
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 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
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 of two cheap Universal Soldier sequels made in Canada with Matt Battaglia inheriting Jean-Claude Van Damme’s role
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
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
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
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
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
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
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.
Sequel to Graveyard Shift with a vampire appearing on a vampire film set and taking over the role in the film
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
Roger Corman produced film where Brooke Adams realises that something sinister might be happening with her pregnancy
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.
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
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
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
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
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.
Having to sit through the Mowray twins airhead natter again in a sequel to their early Disney Channel film feels the equivalent of nails being scratched on a blackboard
Inane Disney Channel film with twin sisters Tia and Tamera Mowry as sisters who didn’t know it who discover they are witches. A film that has zero interest in its fantasy elements and is entirely taken up by airhead teenage airhead natter
Sequel to Twister, the Michael Crichton written film about tornado chasers, this updates the story to the 21st Century and aims for much more in the way of mass destruction spectacle
After the massive success of Jurassic Park, anything with Michael Crichton’s name on it was hot property. This is made from his script about tornado chasers and is a rather entertaining film made with no other purpose that to keep producing a series of spectacular mass destruction scenes on an ever-expanding scale
The third and best of Hammer’s Karnstein trilogy, which features twin sisters Madeline and Mary Collinson as vampires. This works due to a strong hand from director John Hough and Peter Cushing on fine form as a witchfinder
Before the teen idol phenomenon took over, the original in the massively popular Young Adult series works as an earnest romance where all involved are clearly making an effort to play with a conviction
28 Days Later was the work that started the modern zombie film revival. Twenty-three years later, Danny Boyle and Alex Garland return to make a third film and still wring some creativity out of the set-up
A follow-up to 28 Years Later …, made even before the first film was released. This gives a deeper exploration of the character of Dr Kelson and proves a surprisingly good complement to its predecessor
I was cautious about hailing 28 Days Later as a modern classic; this sequel is in fact a much better film. Newcomer director Juan Carlos Fresnadillo draws it out into a series of superbly sustained suspense sequences
Danny Boyle’s sleeper hit presaged a big return for the zombie film during the 2000s/2010s. Not a bad film even if Boyle is conducting major borrowings from other works like The Day of the Triffids and Day of the Dead
Really, Kevin Smith?!? A film wherein a mad lunatic transforms another man into a walrus? While you can applaud Smith’s completely out there leap off into Human Centipede territory, you feel unsure whether you should be reacting in shock or laughter at the absurdity of the premise
A strong contender for Worst Film Ever. Rather than create any effects, it has simply uplifted footage from Star Wars, while the score is a mismash taken from popular films of the era. The dialogue is so bizarrely surreal it makes the brain hurt trying to understand it
Ridiculous disaster movie where air hostess Lauren Holly must deal with serial killer Ray Liotta while trying to land the plane
The first part in Peter Greenaway’s three-part mock biography, a surreal, sprawling work of mad information overload and obsessive lists
The third and final of Peter Greenaway’s Tulse Luper films, a sprawling mock biography that is more like a mad multi-media art installation than a film, filled with digressions, endless lists and obscure jokes
The second part of Peter Greenaway’s massive multi-media installation, a surreal mock biography dominated by Greenaway’s fascination with nonsense lists. Gorgeous to look it but does it make for a dramatically engaging a film?
Tron was a groundreaking work that predicted the advent of cyberspace. Three decades on, this sequel never does anything as imaginative, although advances in effects technology allow for a dazzling reinvention of The Grid
Tron was a genuinely groundbreaking work. It is hard to describe how ill conceived this sequel is where we have gone to predicting the idea of cyberspace to a fight over a glorified 3D printer
A flop in its day, nobody at the time saw how revolutionary this was in that it predicted the idea of cyberspace and the internet. The design of the world inside the computer all in candy apple colours and geometric shapes is extraordinary
Norway attempts to compete with the Godzilla films in the story of a giant troll amok and pull off a work that does the whole mass destruction spectacular well and with some top notch effects
Not the notorious bad movie but a sequel to Troll, the Norwegian-made effects spectacular about the revival of a giant troll. This is more of the same but with the effects pushed to a more spectacular level
Classic tv mini-series about rebellion in a future where Earth is controlled by giant alien tripod machines, this still holds up as something great today
Sequel to the classic Karen Black-starring horror anthology tv movie with Lysette Anthony starring in a trio of horror tales
The third in a series of Biblical End Times films withGary Busey as a decent cop who wakes up in a future ruled by the Anti-Christ. The heavy-handed slinging of Bible verses makes this hard-going for anyone who is not a believer, while the conspiratorial tone frequently verges on nuttiness
A mockbuster from The Asylum that was designed to capitalise on the release of Jurassic World: Fallen Kingdom, this is a low-budget CGI dinosaur film that is slightly better than most
Film from The Asylum about dinosaurs hunting mercenaries. Essentially Jurassic Park that takes place in a warehouse
After thirty years, the Tremors series has held up in terms of quality much better than most other monster series. This is the seventh and what would appear to be the last of the films
For an original that was only a modest box-office hit, it is surprising how long the Tremors series has kept going – five sequels, plus a tv series. This is the sixth film in the series and despite a limited and repetitive premise, characters running about hunting underground-burrowing monsters, it pulls off another enjoyable entry and fails to set a foot wrong
It is a surprise that the Tremors series has managed to get so much out of a slim premise and to remain consistently enjoyable. Coming a decade after the last entry, this still remains enjoyable with the benefit of CGI outfitted Graboids and Michael Gross back in fine form
The fourth of the Tremors films.; It is a surprise that the series has managed to remain consistently enjoyable despite a limited premise. The main spin here is an origin story that takes the series back to the West
Third of the films in the Tremors series, which have held up surprisingly well in their balance of creature effects and a considerable sense of humour. This adds a series of twists to the premise that are positively hilarious
The first of several sequels to the modest hit of Tremors with Fred Ward and Michael Gross repeating their roles, hunting Graboids in Mexico this time. As with the first film, this ably balances suspense, creature effects and a considerable sense of humour
A mind-boggling and frequently hilarious documentary that charts the eccentricities of Star Trek fandom, profiling the lives of several fans and how the fandom is part of their lives
A sequel to the Star Trek fandom documentary Trekkies. Here the filmmakers and Denise Crosby return to take in international fandom in all its permutations
One of the strangest film homages one has come across – an almost complete scene-for-scene remake of Jaws but with the shark substituted by a killer tree being hunted through a park by rangers
Transmorphers was The Asylum’s mockbuster copy of Michael Bay’s Transformers and one of their better films. When Bay released his sequel Transformers: Revenge of the Fallen, The Asylum also made this prequel
The Asylum’s answer to Michael Bay’s Transformers. Bay had a $150 million budget; they try to copy it for $250,000. To its credit, the film flies valiantly to deliver a watchable show in the face of inadequate effects
The fifth of Michael Bay’s Transformers films. This comes with more of an outright comedy focus than any of the other films where Bay seems to be second-guessing his critics and spoofing his own peccadilloes in quote marks, only to produce the silliest entry in the series yet
The seventh of the live-action Transformers films, the second made after Michael Bay stepped down from the director’s chair
The first of Michael Bay’s Transformers sequels has even better effects and more copious mass destruction to the point it washes over you without any effect
Since Michael Bay retired from the series, The Transformers films have been looking for new directions. This ventures into animation to tell a Transformers origin story
The third of Michael Bay’s Transformers films. While the human scenes opt for a ghastly miscalculated sense of humour, the effects houses are at the peak of their game, even if Bay allows them to drag the mass destruction out to a numbing excess
Are there any new creative directions that Michael Bay feels he he has to explore for a fourth Transformers film? All the Transformers beating the crap out of each other and copious mass destruction has become hard to tell one of the films from each other