I’ve never been a huge fan of the “Puppet Master” series, but even it deserves better than this barely watchable entry. The well-animated, rather spooky
Venom (2018)
Despite the fact that “Venom” belongs in the Marvel universe, the movie has little else in common with its predecessors. This is a gonzo Hollywood
The Lost Boys (1987)
It’s not hard to figure out why this stylish 1987 vampire movie has endured in pop culture across three decades. Director Joel Schumacher frames many
The Happytime Murders (2018)
It’s hard to figure out who the audience for “The Happytime Murders” is intended to be. Is it fans of The Muppets looking for the
Leviathan: The Story of Hellraiser and Hellbound: Hellraiser II (2015)
I absolutely adore documentaries about horror movies and franchises so I was stoked for this one, only to discover that it’s a never-ending bore. Perhaps
Leprechaun Returns (2018)
The long-running franchise gets in on the reboot market once more here (after 2014’s “Leprechaun: Origins”) by ignoring the events of every entry since the
Mystery Science Theater 3000: The Gauntlet (Season 2) (2018)
There are a number of changes in this second iteration of the MST3K Netflix revival that make it even more enjoyable than the first one.
That ’70s Show (Season 6) (2003)
It’s been a number of increasingly emotionally complex seasons for this endearing classic, but this time the show seems to uncharacteristically stumble on its feet.
King of the Hill (Season 5) (2000)
Mike Judge’s long-running parody of Texan culture enters its fifth season in top shape here, with a surprising number of emotionally charged episodes pushing the
Prom Night 3: The Last Kiss (1990)
There’s something strangely hypnotic about this light sequel, even if it’s not a particularly good movie in the end. Interestingly it follows the events from
Hello Mary Lou: Prom Night 2 (1987)
Unrelated to the original, this supernatural sequel is a pleasant surprise. Lead Wendy Lyon is an unusual but effective horror heroine in the lead role,
Prom Night (1980)
One of the earliest of the ’80s slasher craze, this Canadian-made production is certainly unique in some ways. The pace is deliberate, there’s an underlying
