There’s no mischief in these Deadites. It’s just a turgid episode of Monday Night Raw seasoned with underdeveloped domestic abuse tropes. What a bummer.

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Just because this film was penned by Se7en’s Andrew Kevin Walker doesn’t mean you should be expecting another classic serial killer flick. It’s somehow both deliriously stupid and mind-numbingly dull, and it even chickens out on its one good idea. Worst movie of the year material.

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Definitely the more impressive of the horror wunderkinds we’ve seen in the last two months, Kane Parsons, with the aid of his highly talented cast, has crafted an eerie warning about the dangers of nostalgia.

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Curry Barker definitely has an eye and a feel for scares, but Nikki’s characterization is all over the place, even though Inde Navarrette is giving it her all. And it wouldn’t hurt if the movie wasn’t 68% screams by volume.

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While not his scariest outing, Hokum is probably Damian McCarthy’s most thoroughly enjoyable film, with whodunit, witchcraft, and puzzle-solving elements all hanging together in a most satisfying fashion.

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Almost nothing about this film works, and certainly not any of the scares. Visually irritating, with obnoxious Foley work, it also tries to turn a Mummy movie into an Evil Dead movie – except it doesn’t even get that right!

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Despite a few half-baked ideas, and stretches of this audio-driven film feeling like they’d be better as a podcast, the end result is still pretty strong. Jim, in particular, found that the last 15 minutes really jangled his nerves.

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Kevin Williamson’s return as screenwriter, coupled with his first turn in the director’s chair, manages to produce a self-reverential, masturbatory mess. Scream is the rare horror franchise where each entry, without fail, is worse than the last.

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In this abbreviated bonus episode, Matt and Jim discuss Markiplier’s surprise hit. While Jim enjoyed it rather less than his co-host, they both think Mr. Fischbach might have a future as a director. That said, the film does have fairly serious pacing issues, and certain elements remain underdeveloped.

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With a mind-numbing, wishy-washy finale that seems perpetually at war with itself, this ill-advised Strangers trilogy finally grinds to a close. Lore-brained to a fault, the filmmakers completely fail to understand what made the original film work: The Strangers had no backstory, and no motive.

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