This release represents a considerable A/V upgrade over Shout! Factory’s 2013 Blu-ray.
Wes Craven’s down and dirty shocker gets a gratifying UHD upgrade and a full roster of edifying supplements.
Arrow Video offers a precise and loving restoration of a daring and legendarily unlovable milestone in horror cinema.
A family-friendly (and still chilling) endeavor from a horror icon gets a respectable Blu-ray transfer from Doppelgänger Releasing.
Regarding national cinemas, each section skews heavily toward filmmakers from either Europe or the United States.
A better-than-average horror anthology from two of horror’s reigning masters, Body Bags benefits considerably from an HD upgrade that’s been fleshed out with some salient supplements by Shout! Factory.
All of them have earned their right to be here, either by standing on the shoulders of giants or wildly impaling creatures of the night.
Swamp Thing lurches onto Blu-ray looking better than ever, complete with an impressive roster of extras.
The randy I’m So Excited got us thinking of other films that take to the skies
Craven’s deep-seated ambivalence with his own religious upbringing sometimes sparks the rote Jesus freakery of Deadly Blessing to life.
From a child murderer to a furry monster to two more Stone creations, they comprise a choice selection of scoundrels.
Those hills may still have eyes, but only the hardiest fans should have their eyes on The Hills Have Eyes Part 2.
Midnight Movie has a surprisingly ambitious structure, as Hooper is aiming for the novelistic equivalent of the vérité approach that was so effective in The Texas Chainsaw Massacre.
The film sings an ultimately joyful song.
Sometimes a good first impression is indelible enough that even the worst subsequent sins can go ignored.
As befitting a third sequel that plays by the “rules” of remakes, Scream 4 proves doubly redundant and uninspired.
This episode was recorded a scant two weeks ago, way back when the Claire Denis retro was winding down at IFC Center.
Wes Craven’s total lack of self-control makes My Soul to Take an overdone Frankensteinian fusion of various generic parts.
The film seesaws ineptly between stale horror clichés, ludicrously excessive gore, and political allegory.
Last weekend marked a dubious footnote in movie history.