V/H/S/HALLOWEEN (2025)

 

Directed by Alex Ross Perry, Casper Kelly, Paco Plaza, Anna Zlokovic, Bryan M. Ferguson, R.H. Norman, Michelle Pitt-Norman 

Written By: Alex Ross Perry, Casper Kelly, Paco Plaza, Anna Zlokovic, Bryan M. Ferguson, R.H. Norman, Michelle Pitt-Norman and Alberto Martini (UT SUPRA SIC INFRA)

Cinematography: Adrian Hernandez, Robert Kolodny, Owen Laird, Daniel Marks, Sean McDaniel, Powell Robinson 

Editor: Robert Kolodny, Bryan M. Ferguson, R.H. Norman, Alex Familian, David Gallart, Dylan Hoang, Sean Mark Lamb Lewis, Phil Samson 

Cast: Rick Baker, David Haydn, Samantha Cochran, Natalia Montgomery Fernandez, Elena Musser, Maria Romanillos, Almundra Amor, Ismael Martinez, Riley Nottingham, Lawson Greyson, Jenna Hoffman, Sami Nye, Stephen Gurewitz, Carl William Garrison, Jeff Harms, Noah Diamond, Sarah Nicklin 

A collection of Halloween-themed videotapes unleashes a series of twisted, blood-soaked tales, turning trick-or-treat into a struggle for survival.

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It’s that time of year where this horror anthology comes up with a new collection. Which is a nice tradition. As usually each collection every year has a theme to it usually expressed in the title. This one is similar and revolves around stories that take place in or around Halloween, though unlike some of the former entries, it’s not so much about a group finding all these random tapes and watching them or being presented to them This year‘s anthology has a background story and then just plays each short film in between the main background story. One can admit this is a yearly guilty pleasure whose quality is a roller coaster yet still enjoyable. Even though after last years entries. One was wondering was it on its last leg and run out of steam.

Still think it should be like the ABC’S OF DEATH and allow new or struggling filmmakers a chance to submit their own entries and use maybe one of two of them as segments each year. After either being voted on by fans or the producers. 

Though truthfully, this year’s anthology should have the subtitle forget those kids as this year the anthology seems to have more of a presence of children. In most of the stories and none are not sacred cows. They are is open to violence and unfortunately death as any of the adult characters.

Even though each anthology is cruel in its own way for some odd reason this year, feel a little more disturbing again maybe it’s because children can be easily as victims as anyone but also there is one short in particular that is not only uncomfortable but again so warped. 

Writer/Director Alex Ross Perry’s Entry KID PRINT was the one I was looking forward to the most and it is unforgettable, Maybe because unlike the rest of them, it doesn’t really deal with fantasy or made up monsters. It’s a little too realistic and seems like it could really happen which is why it’s a memorable and all the more powerful even though at first it starts off seemingly normal and not that special but by the end, it has totally transformed itself as like the plot it starts off so innocently and so simple, and then catches you off guard with a heaviness that you never saw coming. Which is not surprising, considering it’s done by the director from the an anthology whose work I know the most. Alex Ross Perry, who is a journeyman independent director who is not known to do genre films. Usually this seems to be his first and definitely his first official Horror film. Which seems to be an experiment and exercise while using his usual filmmaking technique of realistic stories, and a love a film, the equipment in the filmmaking techniques.

This story is Based around Kidprint was a free service offered by Blockbuster Video in the mid-1990s. Participating stores had a kiosk that children stood in front of that showed their height, and staff would use a VHS camera to record a short video of them speaking basic information about themselves. Parents would take home the tapes to use for ID purposes incase their child went missing.

Another reason why this entry is so different is Because at heart most horror stories seem to be about revenge. Setting things right in whoever’s eyes no matter what. Even if there are extremes and plenty of innocents damaged and killed along the way. When it comes to this short it ends with an injustice that doesn’t seem like it will ever get righted and in many ways. As it should have never happened and has plenty of mistakes, mishaps, wrong turns and lack of communication that ultimately leads to tragedies that by the end seem like they will continue. Which makes it all the more disturbing. 

The film is messy more emotionally with where it goes that it almost feels like a snuff film. As most of the films live up to the title more shot with home video cameras and from point of view shots commonly. 

The other stories/segments are the wraparound segments of DIET PHANTASMA. Written & Directed by Bryan M. Ferguson. Which gets repetitive, as we watch a control group taste test a new soda with ghastly results. Where each segment shows how uncaring the executive watching the results is behind it and the creative ways in which the volunteers are killed or slaughtered after drinking the soda, by the soda. 

It seems to want to be an Anti-capitalist message and dark comedic satire, but the point or ultimate jokes comes off disappointing that we went through all of that to get to this punchline. Which isn’t weak but isn’t that strong either. Though it does help tie together not only the Halloween theme inspiration but also it’s indented to HALLOWEEN 3 

The film starts of with COOCHIE COOCHIE COO written & Directed BY Anna Zlokovic. Which as usual for the franchise ends up being the most disgusting and nasty entry of the film. Here more gore wise. The film is based around two female teenagers facing their last Halloween together, who decide to go trick-or-treating and are enticed by a mysterious house and the promise of free candy. Where once they enter, they can’t seem to escape. Not only that but are chased by various seeming demented adult babies and a breast feeding phantom. 

The next segment is UT SUPRA SIC INFRA directed By Paco Plaza (Director and mastermind behind the REC film franchise) which gives the film some international flavor. Which at least I can say this franchise usually provides. this is the only tale to have a co-writer not directing. This ends up being the weakest of all the segments. The most disappointing. As it has its moments and the filmmaking is great, but the story feels familiar and like we’ve seen it before. It has interesting dressing but lacks depth or reason. Where it feels like more thought was given to the look then the actual idea. As by the end nothing is truly explained and it seems to just lay there. As it comes across as a rather basic gory ghost story 

Then we have the segment FUN SIZE Written & Directed by Casper Kelly. That plays more like a demented fantasy. Where a group of friends take more then one piece of candy from a random table of candy none have ever heard of, breaking the rules they are taken and transported to a warehouse factory. Where they find out horrifically how the candy is made. As they try to revise they are haunted and hunted by the candy’s playful mascot and his assistant. This one seems to more lean into cruel gore and torture with a more playful macabre attitude. 

Wish this shirt had more of a point other than the consequences of breaking the rules. which is the set up but then that’s it other than the carnage. 

The previously mentioned KIDPRINT plays next. 

Then the final extended tale HOME HAUNT written & Directed by R.H. Norman & Michelle Pitt-Norman. Which revolves around a man and his family obsesssed with Halloween who host a haunted house every year for the neighborhood. Looking to impress his son who is finding this embarrassing he ends up taking a record from an antique store that is off limits and the record seeks to make his attraction come to life and transport his family and all of his customers to a personal hell. That they try to escape from.  This starts off fun until it just turns more mean spirited, but next to FUN SIZE the most comedic and so called fun segments. Which might be why they feel a bit similar. This has a meta money as most of these films have practical special effects and this film has legendary special effects artist Rick baker as a cast member.

This anthology makes it through another year, but at least it leaves behind better memories than recent past entries. 

Grade: B- 

TAKEOUT (2025)

 

Written & Directed By: Jem Garrard

Cinematography: Trevor Michael Brown

Editor: David Trevail

Cast: N’Kone Mametja, Deoudone Pretorius, Daniel Janks, Darron Meyer, Damien Wantenaar, Robyn Scott, Nikita Faber, Gia Capouya 

Three coworkers on the night shift at a remote diner get in over their heads after digging for proof that one of their customers is a serial killer.

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This little thriller takes the audience by surprise. It’s not the first one of its type that I’ve seen and in all honesty it could’ve been a little shorter considering it takes place, mainly in one location and doesn’t have as many characters as these types of films usually do. 

as usually in these little tight, one location, thrillers, they up the body count to keep the audience entertained whereas here the film has its fair share of kills, but at least most of them mean something and other words they get a reaction from the audience as we have grown to know some of them 

Even though the film is a who done it and manages to surprise, there are some predictable moments throughout the film. It’s not like a stage play, even though it takes place in one location as the film, moron, action, and thrills more than necessarily dialogue. 

The one has to hand it to the cast, as all of their all of the characters are interesting even if it at times is more darkly comedic they are all believable and most of all credit must be given to the cast and crew as this film seems like it takes place in the Midwest or middle America and in actuality it was filmed in South Africa. 

The film might not be something totally new. It does manage to work well with what it has. It’s not the sharpest, but it stays entertaining and keeps you on the edge of your seat throughout. 

It stays inventive throughout to keep you guessing and provide maximum entertainment. While it works with the limited resources that it has. 

Grade: B- 

THE WOMAN IN THE YARD (2025)

 

Directed by: Jaume Collet-Serra  

Written By: Sam Stefanak 

Cinematography: Pawel Pogorzelski 

Editor: Timothy Alverson and Krisztian Majdik 

Cast: Danielle Deadwyler, Okwui Okpokeasili, Peyton Jackson, Estella Kahiha, Russell Hornsby 

A mysterious woman repeatedly appears in a family's front yard, often delivering chilling warnings and unsettling messages, leaving them to question her identity, motives and the potential danger she might pose.

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Didn’t necessarily have the highest of hopes for this film Going in. 

An african American cast in a horror film that ultimately is bleak and all about trauma. 

That feels like it would be a good starter horror film for those not accustomed to horror films. Even though it’s More a haunting or haunted story then out and out full horror with plenty of jump scares and the like. That ultimately ends up becoming more of a drama 

It feels more like a family drama that has horror or a l supernatural elements that makes it feel a bit like folklore that fits better into that form Of multilayered storytelling.

The reason it feels more like it would be for families is that it seems to follow a trend lately where African American starring horror films involve children more and more (THE BLACK GIRL AND HER  MONSTER practically spells it out. NEVER LET GO  with Halle Berry 

Jaume Collet-Serra (ORPHAN) knows how to direct and make a movie. Not always the most deepest of storytellers. This seems like the richest material he has worked with. Even as he seems to go for mood. His filmmaking goes for flashy and visuals. Though here he tries drama a bit more and the actors are up for it. Especially the versatile lead Danielle Deadwyler 

The woman played by Okwui Okpokeasili is an interesting original she moves in the shadows and becomes more scary the more we see her physically after making more of a mysterious impression in her introduction. When she moves she only moves in the shadows.

the cinematography by Pawel Pogorzelski does show It’s well shot and offers a claustrophobic mood and environment. as it uses a si gel location that it milks for all it’s worth though makes it feel bigger even in its limited environment.

Danielle Deadwyler hit it out of the park as usual with her performance. 

The negative aspects of this film grief, depression, guilt and suicide idealization. Seems to only become available in stories of family trauma and the only time it seems that African American or people of color at times really get to show any range when it comes to acting roles that allow them to be three dimensional characters 

The ending leaves it up to the audience to interpret whether you want to see it as a positive happy ending or a negative one that fulfills what it has been leading up to. In other words it won’t spell it out for you. Whether that is a cop out or artistic choice will depend on your enjoyment of the film. 

Can’t say it’s all that original. Though it makes the most with as little as it might have. Though was hoping it was better then how it looked in the trailers. 

Not the most exciting Film but entertaining enough and under 90 minutes. Only wish it had more to it overall. As it needs the running time to flesh out the whole tale. Yet it feels more like a short story. 

In the end it becomes more of a psychological thriller. With metaphors of guilt, suppression and your pain becoming more of a figure to haunt and torture you. So that it’s a little deeper then it presents itself as.  

Even the ending isn’t cut and dry and leaves you to make your own decision as to what happened and how you see it. 

Grade: C

VENUS (2022)

 

Directed By: Jaume Belaguero 

Written By: Jaume Belaguero and Fernando Navarro 

Based on the short story by: H.P. Lovecraft

Cinematography: Pablo Rosso 

Editor: Luis De La Madrid

Cast: Ester Exposito, Ines Fernandez, Angela Cremonte, Maugi Mira, Aten Soria, Maria Jose Sarrate, Sofia Reyes, Federico Aguada 

Horror invades the concrete corridors of a cursed apartment complex on the outskirts of Madrid.

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As usual, this is a film that might be best to go in blind. Does this offer quite a mystery in a surprise?

This film for all of its original elements end up being somewhat predictable. Even as it always keeps you guessing with all the detours it takes on the road forward.

As it does, keep changing genres, yet staying thorough with its story and characters. As it is a Pulpy noir crime story, one minute, a horror film the next, then on the edge of being a thriller, as well as a supernatural tale. Before in the last act being a story of revenge or a director Luc Besson style  action film.

The film starts off slow, though quickly gain speed as mentioned in the third act you think that’s the way the rest of the film will go before morphing into something different and more satisfying. 

especially with the journey that the film has put the characters and the audience through. Not to mention how the film has built up to these moments and characters and even the tone.

It continuously tries to throw you off center though it seems to be somewhat predictable, especially if you’ve seen this type of film before but at least it’s trying.

The film offers this mix you find that they feed quite well off of each other. As it's based on a short story by H.P. Lovecraft that tells you the places this story will take you.

The problem is that for all that it inspires and tension it makes the audience feel. It never offers up a good enough release. As it builds up you expect something bigger then what it eventually offers. Which is wild but feels a little bit too tidy and minuscule for what it seems to hint at. 

Though being helmed by Jaume Belaguero who works best with the supernatural and thrillers. Sometimes both in small spaces like in his films REC and SLEEP TIGHT. That unfortunately this one doesn’t rise to the occasion as his others have. As this one seems almost like a greatest hits for him or seems to have reached a limit. 

Grade: C+

BRING HER BACK (2025)

 

Directed By: Danny Philippou & Michael Philippou 

Written By: Danny Philippou and Bill Hinzman 

Cinematography: Aaron McLisky

Editor: Geoff Lamb 

Cast: Sally Hawkins, Billy Barratt, Jonah Wren Phillips, Stephen Phillips, Sora Wong, Sally-Anne Upton, Mischa Haywood, Katryn Adams 

A brother and sister uncover a terrifying ritual at the secluded home of their new foster mother.

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This is one of the most unsettling, yet memorable films of the year. As the film works on a psychological level but also has its fair share of gore that comes across too realistic at times. As everything is not what it seems. 

This is a bleak film and world that the Philippou brothers usually drop us into and make us find our way out and try to figure the right path to make it through. Though so far no matter what story they tell and u oversee they take us to. It cuts to the heart of the matter by the end. 

As just like TALK TO ME. Here we are dealing with characters who are in over their heads. Not knowing how deep or the magnitude of their actions and what they are messing with in other realms. These characters are usually lead by their emotions. As they don’t appear to be bad people or mean harm but turn blind eyes to others when thorns to what they want and in pursuit of it to resurrect or communicate with a loved one. As it deals with grief. 

As usual this film is off center, disturbing and confusing for the audience and the characters. While never offering up any easy answers. While usually ending tragically. Even when it appears there might be some hope by the end.

Surprisingly found this film more impressive than their debut film TALK TO ME. Even though this was harder to sit through, but even as this deals with similar themes and motivations. This feels more original, obviously more disorienting and less crowd pleasing. As this feels more like a mystery throughout. Even as we can easily see the rising manipulation and gaslighting. We still care about everyone.

It also feels like a smaller production and doesn’t involve too many characters. It’s a slow burn that is emotional and sudden. 

Sallybhawkns as always goes above and beyond in her performance which is u forgettable and not as briadnas one might expect.

Watching this film is definitely uncomfortable experience by design. Yet it’s hard to look away or abandon. As the story and characters are mostly dealing with trauma. Which the film indices in the audience as well. Truly making watching the film more of an experience than any kind of entertainment.

In the end it’s not a film you forget easily and will still probably haunt you for a while after. This isn’t a movie you simply shake off. 

Though it’s give the filmmakers credit. As originally it seemed like they were going to go more Hollywood and make a STREET FIGHTER movie. Where instead they decided to make a more original film that fit into their wheelhouse and allowed them to push a bit further then their previous movie.

This is something you have to see for yourself to fully understand. 

Grade: B