It’s not quite prime Raimi, but with both Rachel McAdams and Dylan O’Brien in top form, it’s nice to have the old splatterhound back in action.

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Starting with uncanny Sora lighting, then slipping into a Godsmack music video aesthetic, Christophe Gans’s second go-around in Silent Hill pales in comparison both to his first film and to Silent Hill 2, the game on which this film is largely (albeit loosely) based. Returning to Silent Hill was a mistake.

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Ralph Fiennes and Jack O’Connell make for a great pair, even if it sometimes feels like Kelson and Jimmy Crystal were made for different movies. Still, this is a worthy addition to the franchise.

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Not having much to offer aside from some satisfyingly gooshy gore effects, Primate is nevertheless the best film in Johannes Roberts’s decidedly dubious filmography.

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A breakout performance from Jai Courtney, and the exact right balance of tension, gore, and goofiness, make this a return to form for director Sean Byrne. One of the few good shark movies.

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While not without its pitfalls, this remake of the 80s slasher is still quite entertaining, and continues the franchise’s improbably strong record.

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Are they ghosts? Are they robots? Both? Neither? This frustrating conundrum marred the first film, but it reaches new lows this time around thanks to “The Marionette” and its possession of several human beings.

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We watched the last four Friday the 13th sequels, and it went about as poorly as you’d expect. They started out bad, and just got steadily worse.

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Possibly the weakest of Oz Perkins’ films, Keeper is nevertheless a creepy good time, featuring strong performances from Rossif Sutherland and especially Tatiana Maslany.

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Chris Stuckmann’s debut feature is a dreadful amalgam of a dozen other movies – some good, some bad – with an unintentional howler of an ending. Woeful.

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