As far as favorite theatrical films go, it’s damn hard for me to choose between Ryan Coogler’s sensational SINNERS and Zach Cregger’s wonderful WEAPONS. Both are irrefutable instant classics. SINNERS delivered an awe inspiring old school cinematic experience while stoking enduring issues and themes and its reverence for the power of music is perfectly and memorably expressed. The performances (particularly Michael B.Jordan in a duel role) are top notch, the visuals stunning and the air of paranoia it is able to conjure is daunting and sadly all too relatable.
WEAPONS has an ace (or perhaps a joker) up its sleeve that gives it a bit of an edge in my heart and that kooky card is Aunt Gladys (phenomenal Amy Madigan). Fresh horror icons are few and far between and the road to hell is paved by a legion of failed attempts. So bizarre and out of place and yet so recognizable and familiar, boomer boogey-gal Gladys seems to represent every evil obstacle against contentment known to man and yet stands brazenly as a strangely lovable eccentric trickster. Josh Brolin and Julia Garner are exceptional as opposing forces searching for the same answers, the eerie atmosphere and haunting audio cues are exceptional throughout but clearly at the end of the day, it’s Aunt Glady’s nightmare world and we’re all just serving soup and living in it.
You’d be forgiven for thinking both the decades long running PREDATOR and FINAL DESTINATION franchises were out of steam and ready to be put out to pasture but both FINAL DESTINATION: BLOODLINES and PREDATOR: BADLANDS somehow become the most successful and critically lauded of their respective series. Instead of dusting off the usual playbook and attempting to mimic the past, both entries focused on fresh environments, deepening characterization and diligently crafting interpersonal relationships worthy of caring about. The end result was two thrilling, audience pleasing juggernauts that respected the past (Tony Todd’s final appearance in BLOODLINES was pure gold) while paving the way toward a future with limitless possibilities.
Like most horror fans I’ve long enjoyed Guillermo Del Toro’s dark aesthetic and stalwart commitment to the horror genre but I’ve kind of gotten used to him leaving me wanting a little bit more. Finally, (and with a perfect cast) he delivered on all fronts with his vision of FRANKENSTEIN, a beautiful looking and shockingly emotionally satisfying take on Mary Shelley's classic tale.
What a banner year for a dyed in the wool ‘80s slasher horror fan like myself. I was so smitten with Josh Ruben’s HEART EYES that I had to see it in the theater twice. It’s not every day you get a slash-a-thon so perfectly married to a romantic comedy and even more rare was its stars (Olivia Holt & Mason Gooding) sharp comedic timing and genuine romantic chemistry.
It doesn’t get more ‘80s than BLACK PHONE 2. Scott (SINISTER) Derrickson did us all a true solid by scrambling together working elements of his 2021 hit, THE BLACK PHONE and plunging them into an icy realm of supernatural surrealism akin to the THE NIGHTMARE ON ELM STREET series. Even better, his bleak, chillingly otherworldly canvas is occupied by some easy to root for sibling characters (Mason Thames & Madeline McGraw) and an always alarmingly freaky antagonist (Ethan Hawk).
On a lesser note, HELL OF A SUMMER was disappointingly bloodless but at least dispensed some potent ‘80s summer slasher vibes and an amusing comic performance by Fred Hechinger (The FEAR STREET trilogy). CLOWN IN A CORNFIELD’s "Friendo" mask design was a bit generic (possibly the point) and a tad too unthreatening (especially considering contemporary killer clown activity) but it delivered some genuinely surprising twists and an exceptional performance by the always reliable Kevin Durand (ABIGAIL, KINGDOM OF THE PLANET OF THE APES).
“Feel bad” horror was everywhere this year and as much as I appreciated the artistry involved I definitely felt like forwarding therapy bills to a few culprits that beat me up psychologically and dumped me on the side of the road. 25 YEARS LATER was deliciously weird and unsuspected but was no slouch in the department of agitating parental loss grief and THE LONG WALK’s bleak and hopeless examination of abuse of power and the exploitation of the vulnerable resembled my daily doom-scrolling a little to much for my comfort. Michael & Danny Philippou's excellent BRING HER BACK through brilliant and boasting (perhaps too) convincing performances (looking at you Sally Hawkins) made me pretty much want to jump off the nearest bridge & had me in a depressed chokehold for days.
I’m seeing both UNTIL DAWN and the I KNOW WHAT YOU DID LAST SUMMER revamp on many a “Worst of the Year” list which is isn’t too surprising but it’s not going to stop yours truly from defending both. UNTIL DAWN, for better or worse, ignores its video game source material and it is admittedly unfocused and over the place but it still delivers a gruesome, lively time. I personally dig its CABIN IN THE WOODS meets TOURIST TRAP set-up, its likable enough young cast and its overall slick, early 2000’s DARK CASTLE (I’m thinking of THIRTEEN GHOSTS particularly) vibes. It sometimes feels more like a collage of half baked ideas rather than an actual film but it moves along at a good pace and its got some highly memorable kills (last time I laughed so hard at people exploding I was watching SCTV’S “Farm- Film Celebrity Blow-up”).
I KNOW WHAT YOU DID LAST SUMMER may be a bloated, sometimes sloppy mess but it delivers on the slashing front, has genuine affection for the previous films in the franchise, and takes real risks with its legacy characters. It’s hard to tell how much of the campy hysterics were meant to be funny but it's hilarious just the same and if nothing else, provides not one but two of the best surprise cameos to ever grace the screen. As silly and disposable as these two films may be they’re dumb fun keepers in my book that I’ve already revisited & enjoyed again.
Aw, and why is everyone so harsh and dismissive of THE CONJURING: LAST RITES? I get that it’s not on par with the first two films but it’s better than the third and I think it’s always a privilege to hang with horror’s greatest parental units, The Warrens as portrayed by charisma tsunamis Vera Farmiga and Patrick Wilson. O.K., the spinning mirror was kinda lame but the eighties tunes (particularly Romeo Void) made it all worthwhile and copacetic.
On the other hand, I’ve seen TOGETHER listed on several best of the year lists and I’ve gotta say it really didn’t work for me at all. Maybe I was in a mood the day I saw it but it just seemed like a rather smug, sluggish, by-the-numbers codependent body horror tale that offered zero surprises and rather unlikable characters. One positive thing I can say about it though, is that at least its not as disappointing as MEGAN 2.O, or THE WOLF MAN. I had much, much, higher expectations for those two and now I just want to pretend they don’t exist. In the on the fence middle ground lies Osgood Perkin’s loose adaption of Stephen King’s THE MONKEY which starts off strong and wonderfully weird but eventually betrays its well earned creepy tone. I’m all for the blackest of humor but this particular punch drunk chimp gets a little too silly and downright Wile E. Coyote cartoonish for his own good.
As far as surprises out of nowhere go, I’ve got to hand it to Tubi Original MATCH, a great, gross, gooey monster movie throwback. I also stan Steven Sodenberg’s quiet haunter THE PRESENCE whose voyeuristic ghost-view take on a traditional haunted house tale gets under the skin. Its thoughtful surprisingly tragic final twist stayed with me long after the film was over.
How’s about some Horror Television? With the eight part series WELCOME TO DERRY, Andy Muschietti not only outdid his own theatrical interpretations of Stephen King’s classic novel IT, he may have outdid the master himself. There’s an ongoing joke that King (who has acknowledge the criticism himself) on occasion has difficulty coming up with satisfying conclusions to his work. As someone who finished a re-read of the book IT on the same day that the final episode of DERRY aired, I can confirm that IT’s finale (especially that infamously disturbing scene) pales when compared to the near-religious experience that DERRY delivers. Gotta give the horror master author infinite credit for supplying the sand box but Muschietti pretty much pulled off the impossible by supplying not only the scares and world building that was expected, but an emotional power punch of sterling rarity.
ALIEN EARTH got off to an exciting and fascinating start that culminated in a fifth episode (“In Space No One…”) so riveting that it rivaled the best of the theatrical series. Unfortunately that’s where it peaked and in what seemed like a stubborn attempt to thwart audience expectations, it limped toward a truly ho-hum climax that easily could have been outstanding if they’d only taken the more obvious and cathartic path. It’s been picked up for a second season, and I’ll definitely be tuning in again (If only for breakout star T. Ocellus), so here’s hoping in the future they don’t make the same easily avoidable mistake twice.
It’s a wrap on STRANGER THINGS and not a moment too soon. I suppose the last thing the internet needs is yet another critique of the final season so I’ll just quickly concur with all those who note that the writing was subpar, perplexing and wildly inconsistent. I will admit to enjoying spending time with (most of) the characters again and appreciating the wise advice delivered by Hopper that when faced with choosing between the roads of stalling bitterness and mobile acceptance, it’s always best to go with the latter. That’s pretty much exactly the words of wisdom I needed going into 2026! Happy New Year to all (and especially lil' T. Ocellus)!
