3 from Hell

★★★☆ – (2019) – Notorious serial killers reassemble to continue their deviant ways. The first hour is an absolute riot that builds on the lore of the main cast while furthering their inventive insanity. The second half, however, merely mimics the third act of The Devil’s Rejects. Still, there are plenty of reasons to rejoice over the resurgence of characters whom are at their best when behaving their worst.

The Disturbance

★★☆☆ – (1990) – An already disturbed man unravels further after a break up with a short term girlfriend. Moves at an even pace while covering a few distinct moments, but it’s rather quiet and the main character is too underdeveloped to warrant so much focus. The brushes with insanity are okay, but in the end nothing here hasn’t been done before.

Ma

★★☆☆ – (2019) – High school kids befriend a woman who lets them party in her basement, but she gradually becomes too involved in their lives. Works best when laying out insanity, but some occurrences are a bit on the silly side. The major problem is the antagonist’s motive, which doesn’t necessitate the brutal outcome.

All Light Will End

★½☆☆ – (2018) – A young author and her dimwitted friends return to her childhood home where they’re plagued by a mysterious killer. Does everything seen a million times before, and when trying something unique collapses under the weight of sluggishness. Nothing here means anything because no character amounts to anything.

Mercy Black

★★☆☆ – (2019) – A woman once terrorized by an apparition that may or may not exist tries to pick up the pieces in her adulthood. Goes through credible motions of building a mystery, but much of what’s presented is wasted on silly logic, a lack of uniqueness, and a corny conclusion. One can tell this had high aspirations, but during the sluggish pace most of that hope is lost.

The Perfection

★★☆☆ – (2018) – Psychotic moments are exchanged in a small circle of cellists. Almost succeeds as a unique horror experience, but for every shocking moment there are several of blinding stupidity that almost render this a comedy. Would have worked better if no character spoke and the actors practiced their parts.

The Cable Guy

★½☆☆ – (1996) – A man having a relationship issue befriends a psycho who tries too hard to fit into his life. The protagonist’s dilemmas are too typical, while the antagonist adds nothing but corny excuses as to why TV might make someone nuts. Forces a social point in the end, but like all else before it, nothing is ever funny or convincing.

Glass

★½☆☆ – (2019) – Three men with comic book character traits sort out their good vs. evil issues in an asylum. The attempt to combine Unbreakable with Split never gels because in any remotely realistic situation these men would never be allowed to co-exist in close proximity. Couple that with the worst security in film history and we’re left with a dim story that moves too slow and ends without bestowing a single emotional trait.

Doom Room

★★½☆ – (2018) – A woman awakens in room unaware of how she arrived there, but gets assistance from several strange inhabitants. The plot purposely doesn’t make sense, which is fine, but a few lags in pace make one long for a quicker resolution. Ambitious in design, and mostly enjoyable despite an irritatingly repetitive Puritan character.