Saturday, 7 November 2015

Shocktober 2015

For the last few years I've embarked on a Halloween movie marathon during October - 31 Films in 31 days. Last year I chose the theme of  31 YEARS OF HORROR FOR HALLOWEEN 2014 and the previous year's challenge was 31 FRIGHTFEST FILMS FOR HALLOWEEN 2013. This year my theme was 31 HORROR FILMS FROM 31 DIFFERENT NATIONS.

The final list of films watched were chosen from an initial shortlist HERE. This year I tried to include more first time watches and less obvious titles, although there was a mix of classics and obscurities, and I tried to include a global mix from both the more prolific horror film producing nations such as the USA, UK, Italy, Japan etc to less obvious sources such as Pakistan, Venezuela and Iran. The following are the films I eventually watched listed in alphabetical order (by country), and on the main list below in the actual chronological order I watched them during the month, finally completing my challenge on the final day of Halloween itself! I have also included my post-viewing Twitter mini-reviews here for each film also..............



Manhunt: Deliverance Scandinavian style. Visceral & violent, captures the brutality & nihilism of 70s cinema - the decade where it's set.

The Squad: Escalating air of dread & paranoia. Excessive use of wandering about in dark & hysteria but has effectively eerie & nasty scenes.

CUB (BELGIUM) (2014)
Cub: A twisted rites of passage fable which shifts tone from breezy boys' own adventure into dark & disturbing horror mythology. Impressive.

Juan Of The Dead: Cultural comment, exotic location, inventive splatter & outlandish humour melded into one of the best & most unique zom-coms.

Mad Doctor Of Blood Island: Nudity, gore, pathetic monster FX, chronic dubbing, inane dialogue, Mondo animal cruelty. Classic trash nirvana.

The Entity: Peruvian found footage horror possibly loses much in translation. It's confusing & covers familiar ground, but has a decent twist.

Night Drive: Brutality in the African bush. A survivalist safari with lots of nasty violence & incidental ritualistic horror. Gory but dull.

Blood And Black Lace: Exploitation as art. Glamour & gore, Bava's giallo template oozes style & salacity with peerless use of colour & light.

Chaw: Jaws with a boar in Korean Eco horror with a broad slapstick comedic tone which proves at odds with grisly creature feature elements.

Eyes Without A Face: A haunting study of twisted obsession, guilt, deviant surgery & grotesque tragedy. A perversely poetic masterpiece.

KM31 (aka KILOMETRE 31) (MEXICO) (2006)
KM31: Visually impressive Mexican ghost story mixes Latin folklore with J-Horror style. Regurgitates ideas but has an eerie foreboding aura.

Hell's Ground: Crude & crazed TCM clone, which manages to shoehorn in zombies & other sundry madness. Its Leatherface surrogate wears a burka!

Harpoon: Obnoxious tourists get messily slaughtered in Icelandic maritime massacre. Offensive, aggressively stupid, but delivers the gory goods.

Sennentuntschi: Absinthe-fuelled Alpine murder mystery teases supernatural secrets as it unravels as a deliciously dark demonic fairytale.

The House At The End Of Time: Ghosts of the past & future echoes entwined in eerie & emotionally potent tale of spirits & spirituality across time.

Deathgasm: Deranged & demonic. In your face splatter & metal up yer ass. The new wave of New Zealand genre cinema delivers another winner!

German Angst: Urban underground anthology of hardcore horror. Misery, suffering, Nazi cruelty, guinea pigs & the year's messiest demon sex

THE WITCH (USA) (2015) 
The Witch: Fading light, blighted land, an ancient evil lurking in the shadows. Overwhelming dread & utterly unnerving. Believe the hype.

Penumbra: Intriguing mystery gradually peels away layers revealing a darker, more devious side. Shares common ground with The Invitation.

Undead: Fun sci-fi spin on the zombie genre. With John Woo style gun play, inventive gore & creative cussing, the Spierig Bros debut is a blast!

Slaughter Night: Contemporary Dutch supernatural slasher/possession pic. Boasts some grisly kills but mines every cliche in the book.

A Girl Walks Home Alone At Night: Hypnotic, narcotic, darkly romantic. Striking monochrome visuals & a haunting, ageless dreamlike quality. Special.


Sunday, 4 January 2015

2014 - A Year In Film In 140 characters Or Less

2014 is like so last year already! But for my own benefit more than anything else, here's all my mini-reviews I published on my Twitter account for films released last year handily gathered together in one place. This is by no means every film I saw, but just the titles which I felt compelled to post a succinct '140 characters or less' verdict upon. For my latest Twitter reviews you can follow me here: @M_R_Movie.

In Alphabetical Order:  

3 Days To Kill: An awkward mix of violent espionage thriller & maudlin family / fatherhood drama. Tonally vague, listless & misjudged. Poor.

12 Years A Slave: Flawlessly performed, elegantly composed, but bludgeons viewer with relentless misery to trigger a guilt reflex. Overrated.

13/13/13: A barely there plot & strictly amateur hour acting compensated for by sundry violence & black humour in a Crazies/Signal variant.

20,000 Days On Earth: Documentary, drama, archive, art project. A profile of Cave as unique, idiosyncratic & maverick as the man himself.

ABCs Of Death 2: Remains a cool concept but execution as erratic as before. Fewer real turkeys this time but equally few memorable letters.

Afflicted: Uses the Chronicle template to document a horrific physical transformation. A cut above the usual found footage genre offerings.

After: An intriguing mystery unravelling in the subconscious with deviations from expected plot & sensitively handled central relationship.

Alien Abduction: Not quite 'Dire In The Sky', but fails to capitalise on initially eerie build-up & camcorder FF conceit rapidly wears thin.

All Cheerleaders Die: Tonally ramshackle, entertainingly madcap subversion of high school horror, even if it's essentially Jennifer's Bodies.

All Is Lost: A minimalist, purely cinematic tale of endurance, works as intense character study - dignity & stoic physicality against odds.

Almost Human: Invasion Of Bodysnatchers meets Fire In The Sky with a slasher mentality & emphasis on shocks & splatter. Crude but effective.

American Hustle: Amusing study of manipulation with fine period authenticity. Its greatest con-trick is its note perfect Scorsese forgery.

Among Friends: An 80s themed party of dark revelations, duplicity, depravity & dismemberment. It's The Loved Ones meets Would You Rather.

A Most Wanted Man: Less war on terror, more snore on terror. Talky & tedious, a thriller devoid of thrills but rife with wayward accents.

Antisocial: Subliminal social network messages infect users in a nightmare of technological dependency which echoes core Cronenberg themes.

As Above So Below: The Da Vinci Code meets The Descent. Claustrophobic & creepy in parts, milking primal fears amidst chimerical mythology.

At The Devil's Door: Slow burn Satanic shocker, switches focus between leads & has some mood & menace, but drags its cloven hooves terribly.

Automata: Stylish but hugely derivative dystopian sci-fi. It's debt to I,Robot & Blade Runner in particular, borders on blatant plagiarism.

A Walk Among The Tombstones: Set in 90s, feels like 70s, with its prowling, oppressive, grim atmosphere. Cliched, but Neeson is impressive.

Bad Country: Above average cast in a fairly average southern fried crime drama, which is a convoluted attempt at portraying real life events.

Bad Neighbours: I laughed twice. Both those moments were in the trailer. The latest spin in the downward spiral of mainstream U.S. comedy.

Bad Turn Worse: Texan neo noir with teens in over their heads. Has a simmering intensity but the plot doesn't go anywhere you don't expect.

Big Bad Wolves: Brutal torture, graphic child murder & broad black comedy make for a queasy mix in a gripping but tonally asymmetrical film.

Blood Glacier: Retro Alpine creature feature is an entertaining monster-mash with admirably icky practical FX & eco agenda. Throwback fun.

Blue Ruin: A searing, savage revenge thriller simmering with pain & anguish, bristling with rage, tension & tragedy. One of the year's best.

Boyhood: A sprawling, meandering slice of life. Ambitious, but low on dramatic content. Like watching someone's home movies for three hours.

Captain America - Winter Soldier: Bigger, bolder, brilliantly choreographed. '70s espionage & NWO paranoia in state of art blockbuster. Huge fun.

Cheap Thrills: Blistering brutal black comedy of credit crunch cruelty. It's a downward spiral into dares & depravity through desperation.

Chocolate Strawberry Vanilla: Melancholic & darkly comedic, turns into Taxi Driver in an ice-cream van for a finale which goes full retard.

Code Red: Never lives up to impressively gory WW2 prologue, this Bulgarian based zombie opus descends into a generic Nightmare City clone.

Coherence: Labyrinthine lo-fi / high concept mind-bending sci-fi, cultivates a warped reality of escalating paranoia & cryptic perception.

Crawl Or Die: Micro-budget creature feature throwback. 90 mins of monotonous crawling about in dark confined spaces. Tedious tunnel-vision.

Dallas Buyers Club: Routine issue movie mixes bitterness & tenderness. Greatly elevated by powerhouse performances from McConaughey & Leto.

Dark House: Starts out as catalogue of cliches & turns increasingly strange & surreal. Lacks cohesion or logic, a madcap surplus of ideas.

Daughter Of Horror: A bizarre beat generation oddity, a surreal psycho noir which felt like Mulholland Drive directed by Ed Wood.

Dawn Of Planet Of Apes: Perfect mix of story & spectacle, character & cutting edge FX. A blockbuster with brains, heart & soul. Monkey magic.

Dead Snow 2: Far more comedic than previously. A cavalcade of creative cadaverous carnage & inspired comic-book splatter. An absolute blast.

Delivery: Rosemary's Baby for the reality TV era. Nothing groundbreaking, but manages to raise a few shivers & the climax genuinely shocks.

Deliver Us From Evil: Gritty mix of hardboiled cop movie & demonic shocker throws up solid scares but stretches credibility. Bana on form.

Edge Of Tomorrow: Source Code as a shoot 'em up. It's slick, stylish & rattles along with enough spirit to disguise its nonsensical science.

Enemy: Disturbing doppelganger drama fuelled by an air of escalating dread & unease, with abstract arachnid symbolism. Unsettling & exceptional.

Extraterrestrial: Alien greys in generic kids go to cabin in woods & get slaughtered fare.Scenery-chewing Michael Ironside is the highlight.

Found: Raw & rough edged, this controversy-baiting indie pulls no punches with its grim vision of a psychotic sibling & copycat violence.

Frank: A fictionalised account of a fictional alter-ego. Uses the Sidebottom character in a tangential musical journey into mental illness.

Fury: Visceral & grim. A vision of mud, blood & thunder. Captures the intensity of warfare, but has little substance beyond the brutality.

Godzilla: Great moments too widely dispersed. No focal point with characters, much of action takes place on periphery / aftermath. A letdown.

Gone Girl: Deception, duplicity, performance & perception. Gripping from start to finish with a sly satirical bite, the attraction is fatal.

Grand Piano: Technically audacious & outlandish, stylish & absurd. It's a genre-savvy concerto of Hitchcock, DePalma & Argento's best tunes.

Grudge Match: Predictable, overly sentimental, a dull ode to former glories which reminds you just how long ago Rocky & Raging Bull were.

Guardians Of The Galaxy: An 'awesome mix' of humour, charm, engaging characters, invention & stunning visuals. Cooler than Kevin Bacon.

Gun Woman: Heroically deranged & depraved orgy of cartoonish sex, sleaze & splatter with a hardcore taboo-busting agenda. Gloriously extreme.

Her: Electric Dreams for the iPhone era. A glacially-paced slice of shoegaze sci-fi with irksome indie romance trappings. Wishy-washy whimsy.

Heretic: A crisis of faith in the guise of a funereal fright film. Solemn, subdued & serious in tone, but with convincingly creepy moments.

Honeymoon: An intimate relationship decays in a genuinely creepy portrait of paranoia & emotional isolation. Cultivates real sense of unease.

Horns: Uneven & unusual, a lovelorn murder mystery which switches from religious allegory to full-blown horror with oddly puritanical streak.

Housebound: Gloriously chaotic, never really settles on tone or style, but it's an enjoyable, well engineered blend of horror & humour.

In Fear: Employs primal fear, paranoia & disorientation to great effect, chilling rural nightmare with escalating sense of dread & despair.

Inside Llewyn Davis: An elegiac, emotionally fractured character study, set to the tune of melancholic soul-searching folk. Classic Coens.

Interstellar: Nolan reaches for stars but fails to get into orbit. Intimate moments work best, but adrift in 3hrs of time & relativity twaddle.

Jessabelle: Nothing new or innovative, but a decent southern Gothic horror benefiting from lead by Sarah Snook whose star is in the ascent.

Joe: A powerful character study of wounded souls on periphery of society, with dark pasts & bleak futures. Cage's best performance in years.

Last Vegas: Sweet-natured if disposable. This wrinkly wolfpack is far more agreeable & fun to be around than their Hangover counterparts.

Late Phases: Solid werewolf film with unusual location & mature cast, actually works best as a character study of superbly grouchy Damici.

Life After Beth: An indie-spirited Warm Bodies, with manic sense of absurdity & surprising emotional depth. Enjoyably offbeat & affecting.

Lone Survivor: Eschews political context for gritty realism of conflict, dropping viewer into the chaotic heart of battle at close quarters.

Lucy: For a crackers sci-fi cocktail add equal parts The Matrix, Limitless, Transcendence & Enter The Void. Shake well & serve ice cool.

Maleficent: Visually arresting fairytale updating, spruces up familiar story with flashy optics & an impressive Jolie giving good cheekbone.

Mandela-Long Walk To Freedom: Elba & Harris are dynamic in a respectful film which feels more like bullet-points of a life & lacks real depth.

Maps To The Stars: Scathing satire on celebrity, unhinged & acerbic it's Hollywood as an incestuous psychotic pit of neurosis & toxicity.

Mindscape: Absorbing psychological chiller of paranormal psycho analysis. Treads familiar ground, but with assured footing & a classy cast.

Monsters Dark Continent: Like first one, not a film about monsters. Here it's a loud, long, mega-dull Band Of Brothers war film. Disappointing.

Mr Jones: An oft-incoherent macabre mosaic of found footage, urban legend & renegade art, turning increasingly surreal, strange & amorphous.

My Amityville Horror: Fascinating cathartic testimony by edgy, confrontational Daniel Lutz. High on speculation, but draws few conclusions.

Mystery Road: Simmering, stunningly shot pseudo western. A slow-burn Outback noir awash with corruption, bigotry, malaise & mistrust.

Nebraska: Wonderfully whimsical monochrome Midwest odyssey. Bittersweet blend of sarcasm, cynicism & schmaltz in charming slice of Americana.

Need For Speed: Hot wheels & incredible non CGI stuntwork, but ludicrous plot, risible dialogue & dire acting. And waaayyyy too bloody long!

Nightbreed Dir Cut: Not sure new footage solves all flaws, but more than ever now is a horror film of huge ambition & twisted imagination.

Nightcrawler: The parasitic pursuit of sensationalist news through a moral & ethical void. A biting satire of our times. Film of the year.

Ninja - Shadow Of A Tear: Routine revenge plot boosted by bone-crunching Raid level fight choreography. Adkins makes an immense one man army.

Nurse 3D: Single White Female with an ass-shot fetish. A lusty slice of fervid exploitation, surgical splatter & a laughably wooden lead.

Nymph: A Serbian Fin, full of eye candy (scenery, locations, female flesh), but takes eternity to reach its creature elements. A damp squib.

Oculus: Confident,creepy,cleverly choreographed between sharply edited timelines & warped reality. Confirms Flanagan as rising genre talent.

Oldboy: Has no real reason to exist & lacks original's style & impact, but it certainly doesn't sanitise the violence & Brolin is good value.

Only Lovers Left Alive: Sophisticated, cerebral, sensual. Poetic & philosophical vampire tale of nocturnal nostalgia, music, love & death.

Open Grave: From bleak opening, cultivates a sense of clammy disorientation. Build-up is better than reveal but it's a solid grisly mystery.

Open Windows: Cleverly constructed cyber-thriller, big on suspense, voyeurism, manipulation & conspiracy theory. Short on internal logic.

Outpost 11: Low budget lunacy - a surreal psychotropic experiment of isolation & insanity with giant spiders, exploding hares & wanking.

Out Of The Furnace: Downbeat & dirty, has brooding brutality of classic 70's cinema. A simmering study of sibling honour with a stellar cast.

Paranormal Activity Marked Ones: Sheds usual format to be a sort of Hispanic supernatural Chronicle. Confusing & largely bereft of scares.

Patrick (2013): Atmospheric & effective with nice line in gruesome cruelty. Impressive cast - Dance & Vinson stand out in this worthy remake.

Pompeii: B-Movie with a budget, it's Gladiator from the Irwin Allen school of schlock. Utterly generic nonsense, but oddly entertaining.

Predestination: A slow burn until its main reveal then becomes truly mind-bending time travel conundrum with two fantastic lead performances.

Proxy: Funereal-paced miserablist, melancholic psychological shocker with turbulent changes of tone & direction. A bit of a slog.

R100: A fetishistic fantasy, grief & guilt manifested in a series of increasingly perverse & surreal encounters as the fourth wall shatters.

Rigor Mortis: Jiangshi revival / supernatural portmanteau set in gloomy apartment block. Beautifully shot, visually rich, but erratically paced.

Robocop (2014): A film about the illusion of freedom, crisis of identity & ethics of automation in age of drone wars. Surprisingly not bad.

Sabotage: The plot is ludicrous, the twists are telegraphed. It's empty overt machismo, first person gun fetishism & extreme violence. Terrible.

Sanitarium: Well acted if rather overwrought & unremarkable horror anthology of escalating dementia. Very much Tales Of Ordinary Madness.

Saturday Morning Mystery: Fails to make most of its inspired Scooby Doo derived shtick. Some effective material but an opportunity wasted.

Savaged: I Spit On Your Grave meets Scalps with sun-scorched, grim grindhouse aesthetic of The Devil's Rejects. Gloriously gory, trashy fun.

Scarecrow: Starts as Breakfast Club meets Jeepers Creepers & becomes a more generic CGI-heavy creature feature. Its TV movie roots run deep.

Sin City 2: Stale, limp, languid retread of the first instalment. Feels like a film which has arrived at the party after everyone has left.

Soulmate: Low key & leisurely, an old fashioned, mournful, melancholic ghost story more concerned with character & mood than cheap scares.

Stage Fright: A song & dance Sleepaway Camp with the emphasis on camp. Musical mutilation, equal parts tongue in cheek & blade in throat.

Stalled: Horror / comedy literally full of toilet humour. The premise is stretched to breaking point at feature-length, but has its moments.

Starred Up: Hardly groundbreaking, but excels in gritty authenticity & bruising bare-knuckle brutality. O'Connell is a force of nature.

Starry Eyes: Emotionally & physically brutal. Plays in crude metaphor, Hollywood as Satanic cesspit, ambition as a cancerous curse. Superb.

Stretch: After Hours in a limo. Joe Carnahan returns to Smokin Aces territory for a manic cameo-laden crackpot crime caper. A mess.

St.Vincent: Bittersweet dramedy, Murray on fine cantankerous form, but syrupy nature of material at odds with world-weariness of character.

The Amazing Spiderman 2: Too long & tries juggling too many elements, but central motif of fathers, sons & generational consequence is well done.

The Art Of The Steal: Kurt Russell's charisma aids this disposable but fun heist caper which is punchy, pacy & has a cool comedic streak.

The Babadook: Genuinely eerie & unsettling, a fearytale which reflects grief & paedophobia in the form of a truly creepy boogeyman. Superb.

The Borderlands: Extends lineage of classic rustic folk horror, cultivating an escalating dread & paranoia with a genuinely unnerving climax.

The Canal: Crimes of the past haunt the present in effectively creepy & solidly acted blend of psychological decay & supernatural mystery.

The Congress: Strange satirical fantasy, scathing of studio systems & technology. A brave performance from Robin Wright in multiple guises.

The Counselor: Great cast set adrift in an incoherent plot devoid of direction or structure & sunk by crass cod philosophising. Garbage.

The Den: Ingeniously merges current online & horror cinema trends to form suspenseful & sinister zeitgeist grabbing cyber-stalk & slasher.

The Drop: A trio of fine performances (& a cute dog) help disguise a fairly low key crime drama which largely gets by on brooding menace.

The Equalizer: B-movie masquerading as A-list thriller. Overlong, but delivers crunching brutality & Denzel excels as ice cool killing machine.

The Expendables 3: Slicker & less self-mocking than previously, but overlong & overstaffed & midsection with the younger team drags fatally.

The Grand Budapest Hotel: A magnificent multi-layered cinematic tapestry. Nostalgic, playful, a charming, cheeky, lavish feast for the eyes.

The Guest: Highly entertaining genre mash-up with authentic retro style & soundtrack. Stevens a magnetic mix of charisma & brooding menace.

The Hobbit - Desolation Of Smaug: Less exposition, more momentum & better than first, but textbook example of a film carrying excess baggage.

The Homesman: Bleak, austere, windswept, uncompromising. Top notch performances & Jones has a firm grasp of the harshness of frontier life.

The Human Race: Intriguing twist on Saw-patented games of survival & sadism, mixing sci-fi, faith n' theology & multiple exploding heads.

The Last Showing: Obsolescence turns to psychosis as embittered Englund goes One Hour Photo in cat & mouse multiplex manipulation & murder.

The Lego Movie: A sugar rush of technicolour visual invention, boundless imagination & inspired surreal humour. Awesome indeed.

The Machine: Visually & thematically nothing new, but works wonders with modest budget, forging sinister undercurrent. Caity Lotz impresses.

The Purge - Anarchy: Expands on social / political / class themes of original in a cross between The Warriors & The Most Dangerous Game.

The Quiet Ones: Generic & far too reliant on jump scares & sound FX shocks, but at its core is an intriguing science v supernatural conflict.

The Raid 2: Bloated & baggy at first, but once it hits its stride has all savage intensity, blitzkrieg pace & bone crunching brutality of Pt1.

The Rover: Bleak, brutal, barren, a sparsely plotted, scorched fable with flickers of humanity in a nihilistic near future of dust & despair.

The Sacrament: Expertly builds a spiralling sense of paranoia & threat beneath a benign exterior. A chilling vision of control & conformity.

The Secret Life Of Walter Mitty: Well-meaning whimsy, it's a feather-light fantasy comprised of stray vignettes & greeting card sentiment.

The Signal: Like an X-Files episode conceived with surreal dream logic. Drip-feeds moments of abnormality & is frequently visually stunning.
The Taking Of Deborah Logan: Alzheimer's as a disturbing supernatural catalyst - a terrific central performance & a genuinely chilling film.

The Town That Dreaded Sundown (2014): Works as both a meta slasher cleverly riffing on the original & a superior remake with a harder horror edge.
The Wind Rises: A beautiful dream of flight & romance. Nostalgic, wistful, heartbreaking. If it's Miyazaki's swansong he goes out on a high.

The Wolf Of Wall Street: Excess all areas! A hedonistic hit of pure cinematic vivacity in a capitalist vision of Sodom & Gomorrah. Essential.

The Zero Theorem: Obtuse existential odyssey, a poignant pondering of the human condition in a garish, cartoonish companion piece to Brazil.

Torment: Formulaic home invasion fare, essentially You're Next minus genre-savvy smarts. Katherine Isabelle in scream queen mode is a bonus.

Transcendence: Unsure if it's weighty study of the human condition or man v machine cyberpunk action. Not great - an opportunity wasted.

Transformers 4: Underwritten & overlong. Less puerile than previously, but still just a series of set-pieces in search of a coherent plot.

Tusk: Genuinely twisted & perverse, somewhat diluted by Smith's trademark puerile humour, but still plenty of warped body horror insanity.

Under The Skin: Moments of brilliance adrift in a bland, repetitive, sparse storyline. As cold, clinical & detached as ScarJo's seductress.

Vendetta: Rubbish obviously, but as far as Danny Dyer films go it's a cut above - a mean-spirited slice of reactionary urban exploitation.

We Are The Best: Outsiders united through youthful rebellion & punk. Terrific chemistry, utterly infectious. "Hate the sport", love the film.

What We Do In The Shadows: Sharper than a bloodsucker's fangs, consistently hilarious throughout, a brilliant spoof of vampire folklore. 

Wer: The werewolf myth as explored via forensic procedural & criminal interrogation. An offbeat & original twist on a classic horror staple.

Willow Creek: Follows the Blair Witch template to the letter. Surprisingly conventional, uneventful & irony free. Utterly unremarkable.

Witching & Bitching: Agreeably barking mad supernatural battle of sexes, bit ragged, but inspired lunacy & visual flair prevail. Bitchin'.

Wolfcop: Very uneven in terms of balance between horror & comedy, but it's entertaining nonsense & hard to hate a film so knowingly absurd.

Wolf Creek 2: This has transformed from an Outback slasher to a furious, full-on action epic, akin to Duel with gallows humour & butchery.

X-Men DOFP: A surplus of characters & a plot that doesn't hold up to close scrutiny, but delivers its core man v mutant theme on a grand scale.

Zombeavers: Gory, goofy, knowingly ridiculous monster movie spoof. Intensely annoying teens become beaver bait. I was definitely Team Beaver!