AllThingsScary

AllThingsScary Horror Blogger and Film Reviewer. https://linktr.ee/AllThingsScary

[allthingsscary]

Quälen (1983) – Movie Review

Directed by the prolific low-budget horror specialist Michael J. Murphy, Quälen (sometimes known as Torment in English-speaking circles) opens with a straightforward inheritance thriller premise: after a man murders his wealthy father, mysterious things begin to occur in the house where the man must live in order to claim the dead man’s inheritance. It sounds like a classic haunted-house setup, but the execution is pure Murphy: threadbare, amateurish, and strangely off-kilter.

True to form for every Michael J. Murphy film I’ve seen, Quälen is cheaply shot with bad special effects that look like they were thrown together in someone’s garage on a rainy weekend. The “haunting” sequences are especially weak—blurry superimpositions, rubbery props, and lighting that screams “we couldn’t afford a gaffer.” Worst of all, the ghost that keeps popping up has literally nothing to do with the rest of the film. I spent the entire runtime waiting for some connection between the spectral figure and the murder/inheritance plot, and… nope. It feels like Murphy spliced in an entirely different short film and hoped nobody would notice.

The one area where the movie actually works is the acting. The cast throws themselves into their roles with surprising commitment, and the script’s decision to make every single character a complete bad seed is oddly refreshing. There isn’t a single “nice” person on screen—everyone is greedy, scheming, or outright vicious—and that misanthropic streak gives the film a weird, nasty little energy that kept me mildly entertained for a while.

Unfortunately, that’s about all it has going for it. The cheap production values and pointless ghost subplot make the picture drag horribly, and my interest evaporated long before the credits rolled. Quälen is the definition of a curiosity for die-hard Murphy fans only: watch it if you enjoy his signature brand of micro-budget weirdness, but don’t expect anything that actually holds together.

Final Rating: 1.5 / 5

Worth a curious glance on a free streaming night, but nothing you’ll remember once the lights come back on.

[allthingsscary]

[allthingsscary]

[allthingsscary]

Sorum (2001), directed by Yoon Jong-chan in his feature debut, is a brooding South Korean psychological thriller that delves into the lingering shadows of the past. A 30 year old mystery resurfaces and takes over the lives of the people living in an eerie apartment complex. Taxi driver Yong-hyun (Kim Myung-min) moves into the dilapidated Migum Apartments, specifically the cursed unit 504, where a recent fire and older tragedies have left their mark. As he becomes entangled with his troubled neighbor Sun-yeong (Jang Jin-young), a battered woman trapped in an abusive marriage, and other eccentric residents, buried secrets from decades ago begin to unravel, pulling everyone into a web of guilt, despair, and inevitable doom.

The film's greatest strengths lie in its atmosphere and performances. The acting in this movie was superb, particularly from the two leads—Kim Myung-min delivers a quietly intense, emotionally detached portrayal of Yong-hyun, while Jang Jin-young brings raw vulnerability and depth to Sun-yeong. Their chemistry feels authentic and haunting, carrying much of the film's emotional weight. The way the film is shot makes Seoul a desolate and depressing place—cinematographer Hwang Seo-sik captures the decaying apartment building with stark, muted tones, grimy corridors, and oppressive lighting that turns the urban environment into a character of its own, amplifying the sense of isolation and decay.

That said, it's more of a mystery/drama than a straight horror film, and the horror elements are mostly put to the side. The scares are subtle and psychological rather than overt or supernatural, relying on tension, unease, and the slow reveal of human darkness. While this approach suits the story's existential dread and commentary on broken lives and societal neglect, it can feel slow-paced and restrained for viewers expecting more traditional genre thrills or jump scares.

Overall, Sorum is an artistically bold, atmospheric slow-burn that excels in mood, character work, and visual storytelling, even if its restrained horror and deliberate pacing won't satisfy everyone. It's a compelling debut that lingers in the mind long after the credits roll.

Rating: 3.5 out of 5 — A strong, melancholic entry in early 2000s Korean cinema that's more thoughtful and character-driven than outright terrifying, but rewarding for those who appreciate its quiet intensity.

[allthingsscary]

Ready or Not 2: Here I Come (2026) picks up literally moments after the explosive finale of the 2019 original, with Grace (Samara Weaving) barely catching her breath from surviving the Le Domas family's satanic ritual gone wrong. After surviving one deadly game, Grace and her sister Faith must now outrun four rival families competing for a powerful throne - winner takes all. This time, the stakes involve a shadowy council of elite, devil-dealing dynasties (including standout additions like the Danforths led by Sarah Michelle Gellar, and cameos from heavyweights like David Cronenberg and Elijah Wood) all gunning for the "High Seat" of ultimate power. Grace teams up with her estranged younger sister Faith (Kathryn Newton) in a high-stakes, globe-spanning cat-and-mouse game where survival means claiming the throne—or dying trying.

Directors Matt Bettinelli-Olpin and Tyler Gillett (Radio Silence) return, keeping the blend of sharp satire, inventive kills, and breakneck pacing that made the first film a cult favorite. Samara Weaving is once again magnetic as Grace—tough, witty, and utterly committed—while Kathryn Newton adds a fresh dynamic as the sibling pair navigates trust issues amid the chaos. The supporting cast feels vibrant and purposeful: every rival family member has a distinct role, whether providing comic menace, escalating the horror, or tying into the expanded lore. What I like is the characters in this movie. They don't seem out of place and have a purpose to be in the film—no filler here; the ensemble drives the story forward effectively and adds layers to the world-building.

The humor is consistently clever, skewering wealth, power, and privilege with glee, and the action set pieces are creative and thrilling. It's a fun, bloody escalation that expands the universe without losing the core appeal.

However, the broader scope sometimes sacrifices the intimate, claustrophobic tension of the original's hide-and-seek nightmare. This sequel is more light-hearted than the first movie, leaning heavier into sibling reconciliation and over-the-top comedy, which makes it feel less darkly biting at times. I'm not a fan of the exploding bodies (a recurring gag echoing the first film's climax), and I don't understand it—it's flashy spectacle that borders on excessive and doesn't always land with the same impact or logic.

Overall, Ready or Not 2: Here I Come is an entertaining, crowd-pleasing follow-up that delivers on charm, strong performances, and chaotic energy. It doesn't quite match the razor-sharp freshness of the original (which I also rated the same), but it's a solid, enjoyable ride for fans.

Rating: 3.5 out of 5 — A worthy sequel that amps up the fun while holding onto the spirit of the first, even if it trades some edge for broader appeal.

[allthingsscary]

Decades before Father Merrin helped save Regan MacNeil’s soul in The Exorcist, Dominion: Prequel to the Exorcist explores his first encounter with the demon Pazuzu in Kenya. Set against an archaeological dig uncovering a buried church, the story follows Merrin as he confronts both literal evil and his own crisis of faith. His initial battle with Pazuzu becomes less about spectacle and more about rediscovering belief after the horrors he witnessed during World War II.

The film’s troubled production history is almost more interesting than the movie itself. Paul Schrader was originally hired to direct Exorcist: The Beginning, but his restrained, psychological approach was rejected by Morgan Creek Productions for being “commercially unmarketable.” The studio reworked the project entirely, bringing in Renny Harlin to deliver a more traditional horror film. Schrader’s version was nearly buried—initially intended as a direct-to-video extra—until the failure of Harlin’s version allowed it to surface in festivals and limited theatrical release under the Dominion title.

Unfortunately, despite that intriguing backstory, the film itself is a slog. I found Dominion extremely boring and, at times, unintentionally silly. The pacing drags heavily, with long stretches where very little actually happens. When the horror elements do appear, they’re more confusing than frightening—especially the strange, almost alien-looking spirit that never quite fits the tone of the film. The CGI is shockingly poor, easily some of the worst I’ve seen, and it completely undermines any tension the film tries to build.

That said, it’s not without merit. The cinematography is genuinely strong, giving the Kenyan setting a stark, haunting atmosphere. And the acting—particularly from Stellan Skarsgård as Merrin—is far better than the material deserves. There’s a seriousness and depth in the performances that feel mismatched with the weak script and lack of engaging storytelling.

In the end, Dominion: Prequel to the Exorcist is an interesting “what could have been” rather than a compelling film in its own right. It might appeal to fans curious about alternate cuts and studio interference, but as a standalone horror experience, it falls flat.

Rating: 1.5 / 5

[allthingsscary]

The Shrine (2010), directed by Jon Knautz—who later went on to make the excellent The Cleaning Lady—is a horror film that blends investigative journalism with supernatural terror, but ultimately struggles to fully deliver on its intriguing premise.

The story follows two female journalists and a photographer who travel to Europe to investigate a string of mysterious disappearances. What begins as a routine exposé quickly spirals into something far more sinister, as they find themselves caught in a battle against a form of evil they never anticipated. It’s a strong setup on paper, tapping into familiar folk horror and cult-driven narratives, and the film does a decent job of building early intrigue.

Atmospherically, The Shrine has its moments. There are a handful of genuinely creepy scenes scattered throughout, with an eerie fog and unsettling imagery that hint at a much stronger film lurking beneath the surface. The final 30 minutes, in particular, are where things pick up significantly. The tension ramps up, and the film leans fully into its supernatural elements. While effective at times, these sequences feel heavily inspired—if not outright derivative—of The Exorcist, which takes away some of their impact.

Unfortunately, the film is held back by several noticeable flaws. The acting, especially from the two female leads, is fairly mediocre and lacks the emotional weight needed to ground the increasingly intense narrative. This makes it harder to stay invested as the story escalates. Additionally, while the film is supposed to be set in Poland, it’s quite obvious that it was shot in America using largely American actors. This disconnect creates a sense of artificiality that pulls you out of the experience, making the setting feel less authentic and more like a missed opportunity.

Overall, The Shrine is a mixed bag. It shows flashes of potential—particularly in its final act and visual atmosphere—but is ultimately let down by uneven performances and a lack of cohesion in its setting. Fans of slow-burn horror might still find something to appreciate, but it never quite reaches the level of quality that Jon Knautz would later achieve with The Cleaning Lady.

Rating 2- 1/2 out of 5

[allthingsscary]

Bodycam 2026 Movie Review.

I'm generally not a fan of found footage horror movies—they often feel gimmicky, with shaky cams that induce more nausea than fear, and plots that stretch credibility to keep the "camera rolling" excuse alive. But Bodycam won me over despite my preconceptions.

The film follows two police officers who respond to a domestic dispute call. Things escalate quickly into an accidental shooting, and in a panic over potential public backlash, they try to cover it up. What starts as a tense moral dilemma spirals into something far more sinister when they realize the bodycams—and perhaps other unseen forces—are watching them closely. The premise blends real-world police accountability anxieties with supernatural dread in a way that's surprisingly effective.

What stands out is how the movie maintains an even pace throughout its tight 75-minute runtime. It doesn't drag in the setup or rush the horror payoff; instead, it builds tension steadily with some genuinely narky, unsettling set pieces that had me gripping the armrest. The personal hell the two leads endure is captured brilliantly—the guilt, paranoia, and escalating terror feel raw and claustrophobic, making their descent hit harder than in many similar films.

That said, it's not perfect. The CGI is hands-down the worst I've ever seen in a modern horror release—blocky, dated effects that pull you right out of the immersion whenever they appear. Thankfully, those moments are limited to just a few scenes toward the end, so they don't derail the whole experience. A couple of supporting characters also feel unnecessary, padding out the story without adding much value; trimming them would've tightened things even more.

Overall, Bodycam is a solid, scary entry in a genre I usually avoid. It delivers real chills, strong character-driven horror, and a timely edge without getting preachy. If you're open to found footage done with purpose, it's worth a watch on Shudder.

Rating 3.5 out of 5.

Good enough to recommend, flaws and all.

[allthingsscary]

Scorched Heat (1987)

This obscure Swedish-American horror flick promises a vengeful ghost story: the charred spirit of a man murdered by two kids returns to haunt them years later through hallucinations and supernatural torment. Sounds like it could be a creepy, low-budget gem, right? Wrong.

It's basically a Temu version of The Evil Dead—cheap knockoff vibes all the way, but without any of the manic energy, inventive gore, or actual scares that made Sam Raimi's classic work. The acting is painfully bad, with wooden deliveries and zero chemistry between the cast. The plot stumbles along predictably, failing to build any real tension or dread. There's no memorable gore, no effective jump scares, and the "horror" elements feel more like mildly annoying hallucinations than anything terrifying.

The one thing it has going for it is the visuals—the cinematography and some atmospheric shots actually look decent for such a low-budget production, giving it a slightly polished feel in places.

But that's not nearly enough to save this dud. If you're hunting for 80s horror, skip this one and watch the real deal instead. A total waste of time.

Rating: 1/5

[goth-queen]

[allthingsscary]

This Is Not a Test (2025)

Adam MacDonald, the director behind one of my favorite horror films, Pyewacket, delivers another unflinching gut-punch with This Is Not a Test. This zombie apocalypse story stands out in a crowded subgenre by refusing to lean into easy laughs or camp. Instead, it's a serious, ultra-violent, and deeply bleak examination of survival among teenagers—ones already carrying heavy emotional baggage before the world ends.

The film follows Sloane (played compellingly by Olivia Holt) and a small group of high school classmates who barricade themselves in their school as fast-moving infected overrun their town. What could have been just another siege scenario becomes something more layered thanks to the characters' fractured home lives, unresolved traumas, and the raw despair that predates the outbreak. MacDonald weaves in themes of suicide, abusive family dynamics, and the quiet devastation of feeling like there's no reason to keep going—making the zombie threat feel like an external mirror to internal collapse.

The violence here is brutal and unrelenting, earning its R-rating with graphic set pieces that recall the intensity of early 2000s zombie reboots like Dawn of the Dead (2004), but without any tongue-in-cheek humor to soften the blows. The teenagers aren't quippy heroes; they're scared, angry, and often broken kids forced to confront what survival actually means when hope feels impossible.

What elevates the film further is its ambiguous ending, left deliberately open for viewers to interpret. My own take is profoundly bleak—it suggests that even escape might not mean true salvation, and that the apocalypse has stripped away any illusions of recovery or redemption. That kind of emotional weight lingers long after the credits roll.

This Is Not a Test isn't flawless—some pacing dips during the character-driven moments, and not every performance lands with equal force—but it's a refreshing, uncompromising entry in zombie cinema. MacDonald proves again that he's a director willing to go dark and stay there, prioritizing atmosphere, psychological depth, and raw horror over crowd-pleasing tropes. If you're tired of lighthearted teen zombie romps and crave something that hits harder on both visceral and existential levels, this one is worth seeking out.

A grim, thoughtful, and fiercely violent standout.

Rating 4/5

[allthingsscary]

Reminders of Him (2026) is a solid, if somewhat predictable, romantic drama adapted from Colleen Hoover's novel. The film follows Kenna Rowan (played by Maika Monroe), who returns to her small Wyoming hometown after serving five years in prison for a tragic, alcohol-related car accident that killed her boyfriend, Scotty. Desperate to meet and build a relationship with her young daughter, Diem—who has been raised by Scotty’s grieving and deeply hostile parents—Kenna encounters fierce resistance fueled by pain and blame. Amid the emotional turmoil, she forms an unexpected connection with Ledger (Tyriq Withers), a local bar owner tied to the family, sparking a forbidden romance that forces everyone to confront forgiveness, guilt, and second chances.

The movie shines brightest in its lead performances. Maika Monroe delivers a heartfelt, vulnerable portrayal of Kenna, capturing the character's remorse, determination, and quiet strength without ever tipping into melodrama. Tyriq Withers matches her as the grounded yet conflicted Ledger, bringing warmth and nuance to their chemistry. The supporting cast, including Lauren Graham and Bradley Whitford as Scotty's parents, adds credible layers of grief-driven antagonism. These strong acting turns carry much of the film's emotional weight and make the story feel authentic.

That said, the pacing could use tightening—several scenes linger longer than necessary, particularly in the repetitive flashbacks or moments of quiet reflection, which occasionally drag the momentum. The heavy reliance on popular songs throughout the soundtrack, while fitting for a Colleen Hoover adaptation, starts to feel overdone and a bit annoying, pulling focus from the dialogue and natural emotion in places.

Overall, Reminders of Him is a good, tearjerker-style romantic drama that succeeds more as a character study than a tightly wound narrative. It earns its heartfelt moments without fully escaping familiar tropes. Worth a watch for fans of emotional romances or the book, but it doesn't quite reach the heights of its best elements.

Rating 3/5

[allthingsscary]

Train to Busan is widely regarded as one of the most effective modern zombie films, blending high-stakes action with genuine emotional depth. After finally watching it, I can easily see why it has developed such a strong reputation. The film delivers tense, fast-paced sequences with the infected while also grounding the chaos in a story that has real heart.

Set largely aboard a speeding train during a sudden zombie outbreak, the film wastes little time establishing its central characters. At the centre of the story is fund manager Seok-woo, played by Gong Yoo, who is travelling with his young daughter Su-an. What begins as a simple train trip quickly spirals into a desperate fight for survival as the infection spreads rapidly through the train’s carriages.

One of the film’s biggest strengths is how tense many of the scenes are. The confined space of the train creates a natural sense of claustrophobia, and the infected zombies move with frightening speed and aggression. Several sequences—particularly those where characters must quietly navigate through dark train cars full of zombies—are genuinely suspenseful and keep the tension high throughout the movie.

What surprised me most, though, was how much heart the story has. The emotional core between Seok-woo and his daughter gives the film more weight than a typical zombie thriller. Their relationship evolves as the crisis unfolds, and the film takes time to explore themes of sacrifice, compassion, and what it means to protect others when society begins to collapse. These moments help balance the relentless action and make the stakes feel personal rather than purely spectacle-driven.

From a filmmaking perspective, the movie is executed extremely well. The pacing rarely drags, the choreography of the zombie attacks is impressive, and the cinematography makes great use of the train setting. The film constantly finds inventive ways to stage action sequences within narrow corridors, seats, and connecting doors, which keeps the visuals engaging.

That said, there were a couple of small issues for me. Personally, I would have liked a bit more gore, especially considering how intense some of the attacks are meant to be. The film tends to focus more on tension and emotion than graphic horror. I also found it slightly distracting that some characters seemed to turn into zombies almost immediately after being bitten, while others took noticeably longer. The inconsistency stood out at times and briefly pulled me out of the immersion.

Still, these are relatively minor complaints in what is otherwise a very strong film. Train to Busan succeeds because it combines thrilling zombie action with an emotional story that actually makes you care about the characters. By the time the film reaches its conclusion, the emotional payoff feels earned and impactful.

Overall, it’s a gripping, well-directed zombie thriller with real heart at its centre. Even with a few minor flaws, it stands out as one of the more memorable entries in the genre.

Rating: 3.5 / 5

[allthingsscary]

The movie kicks off with a strong opening that really hooks you in. The premise is intriguing-- a highly dangerous fungus escapes from a secret lab (or rather, an old military base turned storage facility), and we're introduced to a former bioterrorism agent (Liam Neeson) pulled back not the fray alongside two young employees (Joe Keery and Georgina Campbell). The initial tension builds nicely with the invisible threat creeping in, and there's some solid suspense and a few gross-out moments that make you lean forward in your seat But after that promising start, the rest of the film doesn't quite deliver what I was expecting The trailer heavily played up the zombie vibes--splatter, chaos, hordes of infected shambling around-and I went in geared up for a proper zombie action flick with lots of undead-style mayhem and high-stakes chases. Instead, it's more of a contained sci-f horror-comedy about a mutating parasitic fungus that causes explosive body parts and some brain-controlling weirdness, but without the full-on zombie apocalypse infected people and gross effects, sure, but it's not really a zombie movie at all. The action stays mostly in one location, leaning into slapstick and dark humor rather than relentless zombie thrills. I would've loved more zombie action-more hordes, more intense fights against waves of the infected, that kind of thing--but the film pivots away from that into something more contained and quirkier. It's fun in spots, with decent performances (especially the chemistry between Keery and Campbell), some gnarly practical effects, and a breezy pace, but it feels like a bait-and-switch from the marketing. Not terrible but underwhelming if you're coming in for classic zombie carnage. it's a passable popcorn watch if you're in the mood for light horror-comedy with fungus infested zombies, but it left me wanting more of the outbreak chaos the trailer promised. 2.5 out of 5

[allthingsscary]

The Dreadful (2026) – Movie Review

The Dreadful, the latest from director Natasha Kermani (following her work on Abraham's Boys), is a moody, atmospheric Gothic horror set in medieval England. It follows Anne (Sophie Turner) and her domineering mother-in-law Morwen (Marcia Gay Harden), who scrape by in a harsh, isolated existence on society's fringes. When a man from Anne's past returns, it unleashes a chain of events—including supernatural curses, betrayal, and violence—that force Anne toward a dramatic turning point.

Visually, this film is stunning. The cinematography captures the fog-shrouded landscapes and grim period details beautifully, creating a palpable sense of dread and isolation. The production design and lighting make every frame feel oppressive and immersive—it's one of those movies where the atmosphere does a lot of heavy lifting.

The acting is a highlight, especially from Marcia Gay Harden as Morwen. She brings a chilling intensity and manipulative edge to the role that steals nearly every scene she's in. Her performance alone makes the film worth watching—she's committed, unhinged in the best way, and elevates the material whenever she's on screen. The rest of the cast holds up well too, with solid turns that ground the story's emotional beats.

There are bursts of brutal violence throughout that pack a punch and fit the grim tone, delivering some genuinely shocking moments without feeling gratuitous.

That said, the story feels a bit thin and underdeveloped. It draws from folk horror traditions (echoing classics like Onibaba), but it doesn't fully explore its ideas or build the tension as relentlessly as it could. The pacing drags at times—it's a deliberate slow burn, but it sometimes borders on sluggish, and I found myself wishing it would pick up speed or dive deeper into the characters' motivations.

The ending, in particular, was disappointing. It had the potential for something spectacular or truly haunting, but it pulls back and lands in a more restrained, almost underwhelming place that didn't quite satisfy.

Overall, though, The Dreadful kept my interest from start to finish. It's not a perfect horror film, but its gorgeous visuals, standout performances (especially Harden's), and occasional brutal intensity make it an enjoyable watch. If you're into atmospheric Gothic tales with strong female leads and don't mind a slower pace, it's worth checking out. I'd give it a solid 3/5—flawed, but far from dreadful.

[allthingsscary]

10 posts!

[allthingsscary]

The Strangers: Chapter 3 – Movie Review

The Strangers: Chapter 3 (2026), directed by Renny Harlin and starring Madelaine Petsch as the returning survivor Maya, wraps up this rebooted trilogy with what the marketing bills as the series' most brutal chapter yet. And on that front, it delivers: the violence here escalates to levels that make the previous two films look restrained, with more graphic kills, higher body counts, and a relentless push toward a final showdown with the masked killers.

Unfortunately, brutality alone doesn't make for effective horror, and this entry stumbles hard where its predecessors at least partially succeeded. The original The Strangers (2008) thrived on slow-building dread and suffocating tension from the unknown, and even Chapter 1 and Chapter 2 managed moments of genuine unease through atmospheric stalking and psychological pressure. Chapter 3, however, largely abandons that in favor of more overt action and gore. The result? A film that feels oddly flat and lacking in suspense. The scares come loud and fast, but without the mounting anticipation that made the earlier entries chilling, they land more like jump-scare filler than true terror.

Compounding the issue is the overcrowded cast. The story introduces several new characters—Maya's sister, brother-in-law, and others—who are meant to raise the stakes and expand the nightmare. Instead, they feel like disposable additions thrown in to pad the runtime and body count. Their arcs are underdeveloped, their presence overwhelming rather than meaningful, and most end up wasted in a script that doesn't give them time to breathe or matter. It turns what could have been a focused cat-and-mouse game into a chaotic mess where no one (beyond the core survivor) feels essential.

The only real redeeming quality is the cinematography. Harlin and his team capture some striking visuals—moody shadows, effective use of isolated locations, and crisp, atmospheric framing that occasionally recalls the eerie aesthetic of the original. The film looks polished and professional in a way the storytelling never quite matches.

In the end, The Strangers: Chapter 3 is a disappointing close to a trilogy that promised much but delivered diminishing returns. It's the most brutal of the three, yes, but that brutality comes at the expense of tension, character depth, and any lingering sense of dread. If you're a completionist for the series, it ties things up (sort of). Otherwise, it's a forgettable slog that makes you appreciate the original even more.

Rating 1-1/2 out of 5