monster
While by no means without its faults, The Midnight Man, from director Travis Zariwny, is a good time horror film that fans of the genre will love.
Gremlins, an ’80s holiday classic, comes mainly from two influences: old-fashioned sci-fi/horror and the Looney Tunes.
The ensemble may be the only thing of interest in The Ritual, which is otherwise riddled with clichés and saddled with an uninspired story.
The Mummy, while primed to be an intelligent blockbuster, lacks a cohesive storyline, solid characters and originality.
Colossal is a fantasy-oriented film about a kaiju monster that somehow manages to be both emotionally effective and profound.
Indie low-budget vampire horror Night Kaleidoscopee has solid visuals but this is not enough to cover up its paper thin characters and story.
Like all Godzilla films, Shin Godzilla criticises how governments respond to disasters – but in this film, it’s not nuclear, but natural disaster.
Our latest “In Defense Of” is The Lost World, the Jurassic Park movie that has typically been overshadowed by its masterful predecessor.
Kong: Skull Island is fleeting entertainment, but given its massive budget and the audience’s predisposition to Kong, that’s not a terribly impressive feat.
1976’s King Kong earned a bad rap over the years for its hokey special effects, yet here we explain just why it might be worth a revisit.
Everything about The Great Wall should be fun and goofy, but it takes itself too seriously to be enjoyed for its silliness.
A Monster Calls is an entertaining and beautifully presented fantasy, which also imbues deeper universal themes of grief and loss.
The Godzilla franchise has had a long and storied history, dating back to the original motion picture of 1954 directed by Ishirō Honda. Produced and distributed by famed Japanese film studio Toho, the original feature has spawned multiple franchise sequels over the years, from both its country of origin and the United States. Starting with the 1956 Japanese-American remake of Honda’s original feature from only two years prior, Godzilla, King of the Monsters!
The inner urge for survival is the most primitive of all impulses. For the longest time, sex was believed to be the driving force that pushes people, unconsciously and fully-cognizant, towards certain results in life. But after WWII especially, psychologists and holocaust survivors began to revisit the idea, and psychoanalysts took the obvious cue from Darwin:
Near the conclusion of Hellboy II, we find the eponymous hero at death’s doorstep. Hellboy is laid at the feet of his personal Angel of Death, a shrouded, veiled monstrosity whose ragged wings are festooned with a series of enormous, amber eyes. Elizabeth Sherman, Hellboy’s partner, cradles his unconscious body in a pose reminiscent of the Pietà, an aesthetic emphasized by the magical spearpoint thrust into Hellboy’s side.