Stoker? I Hardly KNOW Her! Stoker Movie Review

Despite its Dracula-inclined title, Stoker isn’t a vampire movie — director Park Chan-wook already covered that with his last film, Thirst — but rather a thriller about the warped family dynamic that occurs when a man dies and his younger brother moves in with his widow (Nicole Kidman) and daughter (Mia Wasikowska). Read about it in my review of Stoker, which hits theaters in limited release today.

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Sons of Anarchy Creator Developing Demon-Hunting Series for FX

His biker drama Sons of Anarchy is the highest-rated show ever on FX, so it’s not surprising that the cable channel is eager to see what else Kurt Sutter has up his sleeve. It turns out his next big concept is a horror-action hybrid called Lucas Stand that’s about “a damaged former special ops soldier who has been chosen to traverse time and place to hunt down and kill Hell’s law-breaking demons.” Sounds interesting, if not terribly original — like a serious version of Reaper, or the short-lived late ’90s Fox show Brimstone. Lucas Stand is co-written by John Shiban, who wrote the two Rest Stop films and has an extensive TV resumé that includes Supernatural, The X-Files, Breaking Bad, Star Trek: Enterprise, Torchwood and Hell on Wheels and who co-created the X-Files spinoff The Lone Gunmen.

Kathy Bates to Join American Horror Story for Season 3

Although Bates Motel might be the more obvious choice, Oscar winner Kathy Bates (Misery) is joining American Horror Story for Season 3. Details are scarce, but according to TV Line, she will play Jessica Lange’s friend-turned-enemy when the series returns this fall.

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New This Week: Last Exorcism 2, Stoker, Breaking Dawn 2

This week, The Last Exorcism Part II…

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Hack-y Slasher: Nobody Gets Out Alive DVD Review

Nobody Gets Out Alive has a cool title. And that’s about it. The rest is a steady stream of horror clichés that you can see coming from a mile away and that you wish would stay a mile away. Read about it in my review of Nobody Gets Out Alive, which hits DVD on Tuesday, February 26.

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Dark Days for Dark Skies at the Box Office

Even with weak competition that saw the #1 film earn a meager $14 million, Dark Skies couldn't manage even a top-5 spot at the box office in its opening weekend, finishing in sixth place with an estimated $8.85 million. That's the smallest opening of producer Jason Blum's recent horror hits -- including Insidious, Sinister and the Paranormal Activity series -- since the original Paranormal Activity, which opened on just 12 screens in 2009. Still, with Blum's miraculous ability to squeeze high quality out of low budgets (reportedly only around $3.5 million for Dark Skies), his latest endeavor is already profitable and will only rake in more profits in the weeks to come.

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When Signs Met Insidious: Dark Skies Movie Review

Dark Skies isn’t exactly original — think Signs meets Insidious (or perhaps more accurately, Poltergeist) — but it’s another excellent entry in producer Jason Blum’s “suburban horror,” perfectly complimenting Paranormal Activity, Insidious and Sinister. Read about it in my review of Dark Skies.

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Could Halle Berry’s The Call Be Brad Anderson’s Mainstream Breakthrough?

With movies like The Machinist and Session 9 under his belt, director Brad Anderson has been the walking embodiment of cult filmmaking. All but one of his movies have earned both a “Fresh” rating on RottenTomatoes and a 6-plus rating on IMDb (His lowest rated effort, Vanishing on 7th Street, still earned a respectable 52% from critics and 4.9 from viewers.), and yet his highest box office gross to date (his early romantic comedy Next Stop, Wonderland) has been a less-than-whopping $3.4 million. Even his television directorial efforts — Fringe, The Wire, The Killing, Treme, Masters of Horror, Fear Itself — have been more critical or fan darlings than ratings hits. 

Could Halle Berry’s The Call Be Brad Anderson’s Mainstream Breakthrough?

With movies like The Machinist and Session 9 under his belt, director Brad Anderson has been the walking embodiment of cult filmmaking. All but one of his movies have earned both a “Fresh” rating on RottenTomatoes and a 6-plus rating on IMDb (His lowest rated effort, Vanishing on 7th Street, still earned a respectable 52% from critics and 4.9 from viewers.), and yet his highest box office gross to date (his early romantic comedy Next Stop, Wonderland) has been a less-than-whopping $3.4 million. Even his television directorial efforts — Fringe, The Wire, The Killing, Treme, Masters of Horror, Fear Itself — have been more critical or fan darlings than ratings hits.