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  • The Strangers: Prey at Night

    The Strangers: Prey at Night

    ★★

    WOLF CREEK meets FUNNY GAMES (and from here, perhaps, to TERRIFIER?) Exploitation is cinematic manipulation at its purest and most shameless, and what kind of exploitation each person enjoys is very subjective. This subgenre ain't my bag, but I suppose I've seen worse. The ironic '80s song juxtapositions get old real fucking quick, though.

  • Revenge

    Revenge

    ★★★½

    A possible argument for this being a feminist film could be the very thing some cite as a reason it isn't. Its protagonist is presented as a walking list of indicators that would suggest to some that she's "asking for" what happens to her. We know slightly more about her as a person for the first half of the film than we would if we had just met her at a party: she's dating a married man with a lot…

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  • 31

    31

    ½

    How Rob Zombie writes a new script:

    1) Changes names of characters from previous script
    2) Adds a few more repetitions of "fuck," "pussy," "Satan," and "Manson," into the dialogue
    3) Hits "save"

    Jesus, the things we do to ourselves for the sake of #31daysofhalloween

  • Terrifier

    Terrifier

    ½

    There is nothing to this one, nothing holding it up. Not even the simplicity of the simplest survival horror film plot. I spend a lot of time defending the slasher films of the '80s as being, despite what they may look like, about something. But this one is actually everything the mainstream critics of the '80s accused those films of being: a cynical shock machine of pornographic plotlessness and squicky fetishism, in which a misogynistic killer viciously butchers women whom…