The Boogeyman (2023) - Movie Review

After scoring two respectable hits (well, one hit and one highly divisive feature, but this is me talking, and I think they were both very good) while the industry around him was busy scrambling to deal with a once-in-a-lifetime epidemic, director Rob Savage has now stepped right into the mainstream with a Stephen King adaptation. Knowing what happened last time a promising new talent made their kick-in-the-door announcement with a King feature, I’d like to say that I’m keeping my expectations in check… but honestly, I really wanted to like this. And yeah, I do, but only like it.

Dashcam (2022) - Movie Review

 

After how much I got into Host, my favourite film of 2020, my introduction to Shudder’s collection of streamed horror, and something I think will go down as one of the definitive films of the COVID era, I’ve been waiting for the chance to see what Rob Savage would come up with next. I spent quite a bit of 2021 hoping that this film would get a release over here in some capacity, to no avail, but it finally got a digital release in June of this year. It’s another computer-screen horror film, still working off of DIY production values, but it’s also a sharp change-up from what he offered up last time.

Host (2020) - Movie Review

At last, after many months of jealously hearing from friends about how cool Shudder is, it has finally made it to Australian screens. That means all manner of exclusive content on the service is now open for reviews, so I might get around to reviewing Kuso or One Cut Of The Dead at some point. But for now, though, we’ve got something very special to look at. A film that I believe will go down as the film of 2020, both because of how much of a snapshot it is of this point in history, and because it’s just that fucking brilliant as a film all on its own.