directed by m. night shyamalan
blinding edge pictures/blumhouse productions
I can’t judge a movie based on the marketplace opinion of its creator, especially when I’ve only seen one of his other movies (The Sixth Sense), so all I can say about The Visit is what I thought: It works. Quite well, in fact. Granted, the setup of the story is a bit questionable, and as that’s the only reason the developments that follow make any sense whatsoever, it invites a quibble. The SHOCKING twist is very effective, however, and the children are extremely believable in their performances, and the moments where it might be reasonable to entertain serious doubts about the enterprise are explained away with just the right dubious touch. True, it lacks for visceral thrills and seems more of a mild mystery for the bulk of its running time – when it doesn’t play like an out-and-out comedy, that is. Perhaps that abets the impact of the final punchline. Fun for the whole family!
why did i watch this movie?
I actually had little intention of watching this picture, as I couldn’t get a handle on it from cursory glances at its press, but at a certain point I needed something to play so voilà.
should you watch this movie?
I don’t know. Unsettling moments involving the grandparents might seem more troubling to some viewers than ordinary, everyday slasher-type frights. One’s tolerance of younger teenagers may also be a factor in the decision.
highlight and low point
The portrayal of people who are essentially strangers trying to bond over purported family ties is illustrated nicely, and again, the young actors do a very credible job. How tasteful some details are will be a matter of opinion, and the coda seems insufficiently informative.
While technically not a horror movie, the moaning and wailing that greeted Episode VIII from its bereaved fanboys (and -girls) could have convinced one otherwise. Which, okay, I can dig where they’re coming from, as this installment plays for laughs more often than one might expect, obscures the franchise’s hoary catchphrase, and – heaven forfend! – introduces 
Apparently also known by the terribly baffling title Scared Alive, this is one baffling, terrible piece of filmmaking. Not only is the script lousy, and the acting, but it’s technically awful as well – a large portion of the movie takes place at night, in various dark locations, and is so poorly lit and filmed that it is often impossible to tell what is happening, or which characters are involved. At other times, it is also difficult to discern which characters are which for other reasons, leading to further confusion. During several onscreen conversations, I found myself wondering who the dialogue was referencing, being unable to place the name. (Since characters seemed to go unaccounted and reappear at random, this is perhaps not entirely my fault.) Probably not quite as bad as George Phblat’s infamous Benji Saves the Universe, but it’s gotta be close. The ridiculous murder-presaging song that plays incessantly throughout (it’s called “Face to Face”) is kinda catchy.
Short and inconsequential, this straight-to-video (and laserdisc!) offering is also kind of derivative, although there we go again … horror film, blab blah, &c. Not obviously reprising any particular movie – faint praise, perhaps, but it’s something – Dweller doesn’t seem sure what niche it wants to occupy. It’s not quite campy, not very funny or scary, and not nearly as outré as it seemingly wants to be. Jeffrey Combs has what amounts to a cameo setting up the action as a comic-book artist whose hideous creation comes to life, quite in keeping with his erstwhile cottage industry of acting in Lovecraftian roles. Also appearing for some reason: a cavalcade of onetime TV stars including those who played Lily Munster, Ben Casey and “Eric” from Head of the Class. One interesting thing this flick has going for it is its bummer ending, which seems especially odd in such an essentially lighthearted affair. Kinda not really worth it.
Purportedly a “horror comedy,” this offering could’ve used more of either, or both. Readymade for the bygone era of the “prize movie” – or Elvira, Mistress of the Night – Nightmare mostly plays it low-key, and is made with enough panache to avoid becoming fodder for MST3K types (or RiffTrax, if we wanna be up-to-date). The major problem it has is it doesn’t offer enough scares OR laughs for either aspect to become clear; it is also held back by its limited scope. The premise – famous vampire actor is marquee guest at horror convention, and actual vampire – probably works better if expanded beyond a focus on the same small set of characters. It may have been more effective in its own era, albeit merely with cult appeal – and turns out the writer/director, John Stanley, hosted a late-nite television program called Creature Features for eight years. Well, whaddya know. 
SPACE RATS From Outer Space 