Those underappreciated, under the radar slasher movies that deserve more attention.
The slasher movie genre is a subcategory of horror films characterized by its focus on a relentless, often masked, and typically malevolent antagonist who employs a variety of weapons, such as knives or other sharp objects, to gruesomely dispatch their victims. These films frequently feature a group of unsuspecting, often young, protagonists who find themselves isolated and pursued by the relentless killer, often in an enclosed or remote setting. The tension builds through a combination of suspenseful pacing, creative death scenes, and a sense of impending doom. The genre gained prominence in the late 1970s and 1980s with iconic franchises like “Halloween,” “Friday the 13th,” and “A Nightmare on Elm Street,” establishing enduring archetypes such as the final girl, a resilient female survivor. Slasher films tap into primal fears of vulnerability, isolation, and the unknown, making them a perennial favorite among horror enthusiasts.
In/Frame/Out – “Grindhouse” should have been a sure thing. A collaboration between two of cult cinema’s most prized auteurs and a double-feature throwback full of schlock horror and tongue-in-cheek charm. So, was it any good, why did it fail, and what’s grindhouse?
The Attack of the Killer Tomatoes franchise is a humorous horror-comedy series that began with the 1978 film “Attack of the Killer Tomatoes” and includes multiple sequels, a TV series, and other spin-off media. The premise of the franchise is that tomatoes have become sentient and are attacking and killing humans, often with comedic and absurd results. The franchise is known for its campy humor, satire of B-movies, and its use of practical effects to bring the killer tomatoes to life.
80s movies have what I call The 80s Movie Feel. But why? Why do movies from that decade feel so distinctly 80s? Why do 80s movies look different? Why do 80s movies sound different? Why do 80s movies FEEL different? Is it just nostalgia or is there something tangible behind it? In this video we dive into the topic of why 80s moves feel like 80s movies.
Prey comes along at a time when Predator fans are – rightly – wary of any new addition to the franchise. The Alien vs Predator movies were abysmal, while Predators, a promising entry, utterly lacked the horror that distinguished the series and featured bland leading characters. As for Shane Black’s The Predator – the less said, the better. Dan Trachtenberg’s Prey gets a Hulu debut this week after premiering at Comic-Con. Do we finally have a Predator film that can at least live up to the underrated second film, never mind the iconic original? We’ll give you the scoop with our Prey movie review!
The Sci-Fi Guys movie review of Shark Attack 3: Megaladon. Can they uncover a hidden beast from the ancient year of 2002! Will Qui-Gon Jim survive?
The latest Marvel movie is almost here and the reviews are pretty solid. Check out IGN’s review of Doctor Strange in the Multiverse of Madness
This generations version of HEAVY METAL (1981). Love it! So glad another season is coming.
CGI superheroes are more common than you think. The video above breaks down some surprising uses of digidoubles in superhero movies — and shows just how often they appear in modern movies.
Cannon Films were the kings of B-action movies in the mid-eighties, but they wanted to move into the big leagues. They set their sites on Sylvester Stallone, then at the peak of his popularity, to star in movies for them. Their first film together, Cobra, was not a typical Cannon movie. It had a huge budget – $25 million and was a co-production with a major studio, Warner Bros. It was meant to be a blockbuster and indeed was a financial success grossing $48 million at the domestic box office and about twice that domestically. Yet, it was considered a mild disappointment because Marion Cobretti did not become the next Rambo. Even still, Cannon had to be happy, and they doubled down on Sly, offering him the highest salary ever paid to a movie star at the time – $12 million – to star in 1987’s Over the Top.
Based on a script by actor Gary Conway and David Engelbach, the film was pitched as a low-key character-driven drama, with the lead earmarked for a guy like Don Johnson. The story of a man trying to win back his estranged son, once writer Stirling Silliphant, the writer of In The Heat of the Night, The Poseidon Adventure, and The Towering Inferno was brought in, it was pumped up to become an epic Rocky-esque tale, so who else could they get on board but Stallone?
The result was a major box office flop whose entire domestic gross didn’t cover Stallone’s salary, but in the decades since its cult status has grown to the point that it’s now one of Stallone’s most popular eighties movies.