The seventh sequel to a forgettable early '90s action flick, Sniper: Assassin's End only bores in developing the next iteration.
Author: Matt Paprocki
Matt Paprocki has critiqued home media and video games for 20 years across outlets like Variety, Rolling Stone, Forbes, Playboy, Polygon, Paste, and others. His current passion project is the technically minded DoBlu.com. You can follow Matt's body of work via his personal WordPress blog, and follow him on Twitter @Matt_Paprocki.
An eerie, thoughtful examination of post-war Japan, H-Man uses numerous tropes for its horror, but succeeds in mood, theme, and visuals.
Pulpy sea-faring adventure from Hammer, The Lost Continent never finds a groove before trotting out hokey mutant monsters.
John Hughes remixed his formula when writing Pretty in Pink, a story letdown by its ending that chooses to ignore the message.
Dream Demon found itself ahead of its time in depicting emotional manipulation and how social standards impacted women.
If the reaction is to reflexively shy away from The Hunt, it's best to ask why that is since the satire is reflecting a current reality.
While a slog to sit through, at least Blood Tide tries to do something different with an exploitative concept.
Jaws holds it status after 45 years not because its a memorable horror or monster movie, but for its ability to use the shark as a catalyst for change.
Routine sci-fi/horror/noir pieces fill Monster and the Girl, a movie dependent on story beats that came before.
Horrendously dated in its worldview, Captive Wild Woman stands against Germany's WWII ideology, but makes equally egregious errors of its own.
Ranking near the bottom of Universal's golden era genre output, Jungle Woman is a messy, cheap production lacking in substance.
Being the best of the Paula Dupree trilogy doesn't say much, but at least Jungle Captive shows a little competency.