Found Footage 3D (2016)
An absolutely hilarious parody of the Found Footage film about a film crew trying to conduct a shoot in a haunted house. This comes with mind-spinning levels of meta-fiction
The Science Fiction Horror and Fantasy Film Review
An absolutely hilarious parody of the Found Footage film about a film crew trying to conduct a shoot in a haunted house. This comes with mind-spinning levels of meta-fiction
Not a Frankenstein film but a werewolf film. Spanish actor Paul Naschy debuts his signature role of the wolfman Waldemar Daninsky. Naschy would return to the role nine times, as well as play most of the classic horror characters
Tim Burton’s stop-motion animated expansion of his 1982 short film has a winning concept – a parody of the Universal Frankenstein films with a teenage boy resurrecting his dog
The sixth of the A Nightmare on Elm Street films, sold with the gimmick of a 3D release. New director Rachel Talaly refuses to take the material seriously and turns the show into an absurd cartoon
Animated film designed for the US Thanksgiving holiday. With a completely insane plot involving turkeys travelling back in time to stop turkeys being served at the first Thanksgiving
Third of the Friday the 13th films, shot in the brief fad for 3D films in the early 80s. This is also the one where Jason adopts his trademark hockey mask
Disney animated film that supposedly adapts Hans Christian Andersen’s The Snow Queen, although Andersen wouldn’t recognise it. This often feels like a ramshackle assemblage of formula elements rather than the classic it was hailed as
Frozen was the most successful animated film of all time. It also felt the most formulaic and least inspired Disney film of the 2000s. As part of Disney’s new business policy of recycling everything, this is a sequel.
Ang Lee dips his feet into the action genre in a conceptually fascinating work where assassin Will Smith facies a younger clone of himself. Smith’s performance and the effects used to de-age his double are top-notch
Directorial debut of Roland Emmerich’s regular screenwriter Dean Devlin who has clearly been given orders to make another Emmerich film. Thus we get all the same effects-driven mass destruction spectacle, absurd science and pro-environmental messages
This US-made live-action adaptation of the cult anime is a disaster on every level. The original’s haunting meditation on the dividing line between machine and human is diluted to being no more than a Cyberpunk action film
Ridiculous sequel to the Marvel Comics adaptation with an indifferently written script assembled from cliches, forgettable action scenes and Nicolas Cage giving one of his silliest performances in ages
There was a lot of hate centred on this for recasting what is considered a classic film with an all-girl cast. It emerges mostly likeably, no better, no worse on the whole, where the new ensemble make a solid showing
You can’t complain that this is not exactly what you expect it to be – two hours of cartoonish action during which the brain singularly fails to engage. This is less unapologetic about being a military fantasy than the first film
Surely the most outlandish film premise ever slung together for an animated film – a version of Shakespeare’s Romeo and Juliet conducted between talking garden gnomes in rival backyards
This could be considered the Michael Bay version of Ancient Egyptian mythology, a film buried under numbing CGI overkill. For all that, Alex Proyas gives it a loopy grandeur that you can’t entirely dislike
A slightly different beast to its Japanese counterparts and an impressive revival of the series. Gareth Edwards, who made the excellent Monsters, delivers mass destruction on a mind-bogglingly vast scale in ways that approach painterly beauty
Follow-up to the 2014 US-made Godzilla. This introduces other monsters from the Japanese series and tries to create a shared universe. But when the film is all massively-scaled mass destruction, it seems hard to root for the monsters
Underrated 1950s SF film, a murder mystery as the equipment at a space research laboratory tries to kill people. Contains the first ever depiction of a computer virus
Pixar have never been the same since they slipped into the easy familiarity of sequelitis. This is essentially a boy and his dog story but played out with a dinosaur and a caveboy, but also an alternate history tale
A film based on the hugely popular children’s horror series. The film creates a story where the creatures from all the books are unleashed. This is fun to watch, yet what we ultimately have is easy, undemanding horror for family audiences
The second film spun off from R.L. Stine’s popular horror stories promotes the wonderfully evil ventriloquist’s dummy Slappy to principal nemesis. The rest of the film is predictable but Slappy deserves his own series
Sensational drama with Sandra Bullock as an astronaut trapped in orbit. The film is scrupulous and thorough about portraying being in space scientifically accurately and the dramatic set-pieces are gripping in tension
Matt Damon helps defend the Great Wall of China against invading monsters. Directed by Zhang Yimou, this should be seen for its breathtaking visuals – vast battle scenes, lavish costumes – but you wish there had been more than that
The long-planned big screen adaptation of the popular radio and tv masked hero becomes a disaster by placing the script in the hands of a badly miscast star Seth Rogen who plays everything for comedy
After Ron Howard’s over-produced version of the Dr Seuss story, one looked to Illumination Entertainment, the animation company behind the Despicable Me films, to do the story right
A triumphal Marvel Comics adaptations that manages to mainline the spirit of the original Star Wars, while in in its wryly, self-deflating culture savvy suggesting a Star Wars rewritten by a 14 year-old Quentin Tarantino
Guardians of the Galaxy was an audience winner with its eccentric humour and effortless charm; this sequel feels buried under bloated production overkill where the charms of the original remain thinly drawn
Jonathan Swift’s classic tale of a man in a land of miniature people is turned into a comedy vehicle for Jack Black and outfitted with a series of vulgar and pop culture gags
Amid the early 2010s fad for adult fairytale reinterpretations, this has an anachronistic absurdity that invites you not to take it seriously. A series of action movie poses, CGI and splatter effects are transplanted into the fairytale.
George Miller had a charming and delightful hit with his dancing penguin film Happy Feet. He returns to make a sequel here that merely tries to repeat the same
I’ve never been a huge fan of the Harry Potter series but the final chapter rounds out the boy wizard saga in rousing style, mounting an epic-sized battle and finding characters depths that hold some of the best writing of the series
Reboot of the Hellboy series promisingly comes from Neil Marshall but is also made by Millennium Films who have a habit of buying up previously successful properties and churning out cheaper spinoffs
Dwayne Johnson starring Hercules film that just wants to be a big dumb cartoon without a brain cell in its body. This takes the interesting approach that Hercules was an ordinary man whose exploits were all down to PR
After two bloated and over-padded Hobbit films, Peter Jackson finally gets it together and produces what everyone was expecting him to deliver, even if it means dragging one battle scene out to last an entire film
Peter Jackson returns to J.R.R. Tolkien and epic-sized adventure in the first of his Hobbit films. The visual sweep is there but the film feels over-extruded and over-burdened by its own self-importance.
The Hobbit became Peter Jackson’s equivalent of the Star Wars prequels and this is the weakest work he has produced under the J.R.R. Tolkien banner. Five picaresque chapters of the book are extruded into bloated set-pieces
One of the less known films of Joe Dante. A 3D work that just predates Avatar, it is a YA horror story in the vein of The Goonies or Dante’s own Explorers crafted with care and an affection for the characters
A variant on the much more charming Mad Monster Party?, an animated film featuring cute cuddly versions of the Famous Monsters (Dracula, Frankenstein’s monster, wolfman etc) with Adam Sandler voicing Dracula
I had little enthusiasm for this, I tend to like my classic monsters serious rather than defanged – these Hotel Transylvania films are so watered down, Dracula doesn’t even get to drink blood
I’m not a fan of the Hotel Transylvania films and their reduction of the Famous Monsters to slapstick yocks. This is exactly the same as the preceding films, no better, no worse and with only minute plotting difference
The film that launched Vincent Price as a horror icon where he plays a mad waxworks curator who covers murdered bodies in wax. A remake of Mystery of the Wax Museum shot in the original 1950s 3D fad.
Eli Roth is a director associated with the Torture Porn cycle and one does a double-take at him making a family-friendly film. The results emerge somewhere between Harry Potter and a Goosebumps film
One of the most beautifully made formula animated films of recent vintage but at the end of the day no more than a film that is by the numbers where the artistry is unsupported by the banal script
Popular animated adaptation of a children’s book. This hits all the right story arcs and in sufficiently likeable measure to work amiably. Two sequels and a live-action remake followed.
This is a film that leaves you in two minds – one that is constantly going wow at the animated artistry and detail before us; the other that is realising that this is yet another formula animated film
Martin Scorsese’s venture into making a children’s film is a beautiful production but must have been a studio nightmare – while they try to sell it as a magical fantasy film, Scorsese wants to pay tribute to silent filmmaker Georges Melies
Sequel to Snow White and the Huntsman. Despite low expectations, this emerged better than one thought it would. It has a better director and seems much more at home being an epic fantasy than the first film
An empty-headed work that seems entirely premised around the provision of CGI effects spectacle and actively resists engagement on any other level. A spectacularly ridiculous film in almost every way
The title and names are changed, otherwise this is an extremely faithful adaptation of Dr Jekyll and Mr Hyde starring Christopher Lee. Not very successful at the time, this interestingly opens the story out with Freudian psychology
Another of Blue Sky Studios’ interminable animated sequels to its likeable original about prehistoric talking animals. This has little substance beyond a kinetic rush from one gag to the next
This is not a film, it is a money-making machine in the guise of a film aimed squarely at undiscerning family audiences that plays to familiar characters and comic routines and has minimal difference to the preceding three Ice Age films
I hate the Ice Age films and their tediously extruded adventures. The opening sequence here and its ignorance of even basic science is the most inane thing in the entire series
A Peruvian children’s animated film about a device that allows people to enter an author’s imagination. This mostly has children having adventures in a facsimile of Jules Verne
A venture into Greek myth retelling the story of Theseus and the labyrinth. Tarsem Singh, a director with a visually extraordinary eye, lavishes everything on the sets and costumes. One film of the 3D overkill fad that needs to be seen in 3D
Pixar’s venture into sequels has resulted in works playing off past successes that are lesser than their originals. This came with much anticipation but it too must be counted as another disappointment
Roland Emmerich returns with more of the same. The problem is how to top the first film and here everything is so big and with so much happening that it cannot be taken in and slips into tedium
Pixar have slumped into terminal sequelitis during the 2010s – this was only the second original work they have made during that time. While not perfect, it goes regains the creative heights from five years earlier
After two fairly good initial entries, the Insidious series began its downward slide. Here new director Adam Robitel’s clumsy jumpshocks are a far cry from the eerie effects James Wan pulled off
Divergent, the first entry in this Young Adult dystopian series, a poor man’s Hunger Games, failed the “I can’t hold any suspension of disbelief” test. This offers more of the same, plus lots of random effects sequences
A modest German-made film not dissimilar to Cube in which a man wakes up inside a labyrinth of locked rooms and must find a means of escape
A major disappointment. Stripping the superhero of the show of his suit makes for no more than a regular action hero, while the film’s reduction of Iron Man’s No 1 villain to a cardboard threat ranks down alongside a Batsuit with nipples
Sequel to the Russian-made horror film Viy, this is an historical fantasy with a big budget that mounts spectacular effects sequence and provides name stars, even if the results are utterly bizarre
I far preferred the 1990 mini-series to the cinematic remake of the Stephen King book. This emerges as a lesser copy of tv’s Stranger Things, which did the whole 80s nostalgia/horror story far better
I had mixed feelings about the first part Andy Muschietti’s adaptation of Stephen King’s novel. The second part here is a better film, although it too eventually gets buried in over an hour’s worth of Muschietti’s jumpshocks
A French animated film where a boy with a cuckoo-clock for a heart goes on a quest for love through a surreal quasi-Steampunk world. With cameos from Georges Melies and Jack the Ripper
Bryan Singer was once the hope of fanboy cinema but this attempt to turn Jack and the Beanstalk into an epic fantasy feels exactly like formula studio product that could have been made by any hired director
The second sequel to the hit killer shark film. This is shot with gimmick of the early 80s 3D revival fad but this has the effect of reducing Steven Spielberg’s masterful suspense to a series of novelty pop-up shocks
While the film bombed, it emerges as a fairly good and faithful, lavishly produced adaptation of Edgar Rice Burroughs’ swashbuckling planetary adventure
Sequel to Journey to the Center of the Earth, a supposed adaptation of Jules Verne’s Mysterious Island and a consistently silly, nonsensical film that operates at the level of a children’s cartoon
This family friendly adaptation of the classic Jules Verne novel was made to highlight the 3D process and throws most of the book out to essentially become Jules Verne the theme park ride
Director/actor Stephen Chow is one of the undisputed comedy geniuses of Hong Kong cinema. Alas, he comes astray with this version of the classic Chinese legend
A sequel to Stephen Chow’s Journey to the West: Conquering the Demons. Directed by the legendary Tsui Hark who leaps in with wildly fantastic regard but is also forced to incorporate Chow’s slapstick
Jumanji: Welcome to the Jungle, the reboot of the 90s Jumanji, was a box-office success. That mandated a sequel. The central problem is where exactly does a film about characters sucked inside a videogame go with its premise?
A revival of Jumanji. The original’s boardgame is now a videogame that sucks the players inside. The adventure elements are routine but the film’s has comedic fun with its bodyswapped characters
Live-action remake of the Disney film that gives the animals life through top of the line CGI effects. The results are impressive aided in large part by near-perfect voice casting
The long-delayed film based on the Disney theme park ride is an assemblage of cliches from various adventure films but ends up being far more enjoyable than it has any right to be
An enormous hit for Steven Spielberg who took new emergent CGI technologies and wowed audiences with dinosaurs brought to life in dazzlingly realistic detail. It doesn’t hurt that he delivers a relentlessly suspenseful film too
Fifth of the Jurassic Park films. Industrial Light and Magic do their usual excellent job but this time the film is just recycling the same thing as before with minimal change
After two ho-hum sequels, this finally delivers a solid follow-up to Jurassic Park. Rather than more scenes with dinosaurs chasing people, this comes with some fascinating ideas about seeing the park in operation
Zack Snyder completes his run through DC superheroes with mixed results. The introduction of the characters works well but Snyder too readily throws established continuity out the window, while the visual dourness becomes tedious
Guy Ritchie’s take on the Arthurian legends is an awkward beast that comes out as half wannabe Michael Bay film giddy with CGI delirium and half one of Ritchie’s typical Man’s Man caper films
Kingsman with its parody of gentlemanliness and action movie sensibilities, was the smartest of the modern spy movie parodies. This sequel has gone to the excesses of the Roger Moore Bond films in the space of one film
The third of Michel Ocelot’s Kirikou films, delightful tales about the ingenuity and plain-speaking wisdom of a young boy winning out over adult pomposity and foolishness. Animated with a simplicity that is magical
A reboot where King Kong is now part of a shared universe. This is less a tragic love story about Kong falling for a girl and being brought down by civilisation than Kong as a heroic defender fighting off other monsters
Beautiful stop-motion animated feature from Laika. This takes a big bite and tells an epic adventure. The only flaw is that the stop-motion is so flawless that audiences cannot tell the difference between regular animation
Sequel to DreamWorks hit animated film, this does little more than repeat its predecessor. The detail and texture is amplified to a work of art, although you cannot help but wonder if the under tens care about this
The Kung Fu Panda series are films for couch potatoes – martial arts films with a hero who proclaims the virtues of laziness, overeating and goes into combat with an self-inflated sense of his own awesomeness
A Chinese fantasy film that leaves anything Western fantastic cinema has made recently for dead, including epical battle scenes and a lavish sumptuousness of costuming that leaves your jaw on the floor
Renny Harlin, the director of a great many empty-headed action films, takes on the Greek myth and delivers a Hercules film that feels like it has been directed after too many watchings of 300
A reasonable attempt to revive Tarzan. Tthis could almost be a sequel to Greystoke with more of an emphasis on adventure. Alexander Skarsgård broods his way through the title role.
Zack Snyder makes an exquisite motion-capture animated film for adults about talking owls. This has a story that comes with a sweeping mythic arc
The death of Graham Chapman put paid to a Monty Python reunion. Undeterred, Chapman’s autobiography is bought to life as an animated film in the gonzo Python style with the remaining Pythons providing voice work
Jon Favreau had success recreating The Jungle Book in live-action with CGI animals and does the same with The Lion King – only to produce an exacting, lifeless replication missing the charms of the original
On its own terms, a frequently lovely film. The director made a big thing of how much he loved the Saint-Exupery original but makes a completely different story with only occasional Little Prince interludes
Animated film based on the popular series of children’s stories about a kid who befriends a vampire boy. The same stories had previously appeared as a live-action fllm
Hugh Jackman and Patrick Stewart bid farewell to the X-Men franchise. One of the strongest films in the series, having been stripped of superheroics and allowed to play out as a character drama
A Chinese-made attempt to make a disaster movie with a crosscut of characters aboard a luxury airliner. What causes the film to plummet down into the ridiculous is the addition of a horde of mutant cats
Vincent Price had success as the mad waxworks curator in the 3D horror House of Wax. This cheap copycat casts Price as a mad stage magician and is also served up in 3D
30 years in the making and the results are sensational. An action film so relentlessly foot-to-the-floor and full of kinetic wildness that it blows all its contemporaries away and sets the bar anew