John McPhail’s Anna and the Apocalypse (2017) provides a goofy-smile-on-your-face level of entertainment, whether you like Christmas movies, high-school musical comedies, zombie decapitations, or five-second-long arterial sprays.
Hannah Grace (Kirby Johnson) is having a time of it in Diederik Van Rooijen’s The Possession of Hannah Grace (2018). First she’s alive but possessed by a demon. Then she’s dead and still possessed, or dead-ish, anyway, most of the time. Yes, her corpse is laid out on a slab. But every now and then it rouses itself and crawls spider-like through the halls of the morgue.
Await Further Instructions (2018) is a post-Brexit horror film, the first one I’ve seen, if not the first one produced. It grapples with the divide between the young, diverse, self-involved, and urban and the ressentiment and revanchism of traditional, aging Britannia that has brought the birthplace of the English language to the brink of elective economic catastrophe. And that gave us Donald Trump.
It’s rare that a horror movie is beautiful. Let the Right One In (2008) is a beautiful horror movie. So is Justin P. Lange’s The Dark (2018).
In Duncan Skiles’ decent The Clovehitch Killer (2018), Charlie Plummer stars as Tyler, a teenage boy who begins to suspect that his father Don (Dylan McDermott) is a serial killer. That a psychopath known for his skill with tying knots might have named his oldest child Tyler is a joke that wasn’t lost on me.
In Julius Avery’s Overlord (2018), the Nazis in occupied France have discovered something or other in a church that, once refined by their super-science, turns corpses (and pieces of corpses) into Übermenschen. If the movie spells it out, I missed it, but I can take a stab at what they’re shooting up with.