Producer: Seth Fuller and Scott Hussion Director: Scott Hussion and Seth Fuller Writer: Victor Zarkoff Stars: Neville Archambault, Chelsea Edmundson, Amber Midthunder, Hank Rogerson, John-Paul Howard, Brytnee Ratledge, Gavin bWhite, Lora Martinez-Cunningham, Brianne Moncrief, Zach Dulin and Kodi Saint Angelo Studio: Gravitas Ventures

Voyeurism of a most extreme sort was the subject of Victor Zarkoff?s ?13 Cameras,? a low-budget thriller that grew increasingly implausible as it progressed but was nonetheless tightly constructed and genuinely creepy. The sequel expands things by adding not only another camera but needless subplots, and the tightness evaporates. ?14 Cameras? becomes a flat, pointless bore, marked by poor writing and slipshod construction, as well as flat directing and amateurish acting.

In ? 14 CAMERAS ,? the villain, creepy landlord Gerald (Neville Archambault), simply spied on his tenants until fatally intervening in their troubled lives. It was a slim story, but for the most part was crisply staged and executed. This time around, Gerald is more of an entrepreneur who rents out a baker?s dozen of camera-equipped homes, footage from which he streams out to paying customers on the dark web.

He still, however, has his own perverted interests. He keeps Claire (Brianne Moncrief), the pregnant housewife from the first movie, imprisoned in an underground chamber, and when one of his renters, Sarah (Chelsea Edmundson), almost catches him rambling about in her house, he tosses her in as well, though he never seems to have contact with the women except for occasional trips to bathe them tenderly. In one plot thread, Sarah attempts to escape despite Claire?s warnings not to?good advice, as it turns out.

In any event, after a pointless prologue involving a couple (Zach Dulin and Kodi Saint Angelo) who simply banter for awhile before disappearing in their car, the focus shifts to a new bunch of renters: parents Arthur (Hank Rogerson) and Lori (Lora Martinez-Cunningham), their daughter Molly (Brytnee Ratledge) and her horny younger brother Kyle (John-Paul Howard), who has the hots for Molly?s friend Danielle (Amber Midthunder), their guest. Much of the movie is given over to desultory footage of them, enlivened only when one of Gerald?s customers decides to pay the girls an unwelcome visit and Gerald intervenes to protect them.

By this time, however, Junior (Gavin White), a teen who lives with Gerald (and may be the son Claire never knew), investigates what his ?guardian? has been up to and decides to save Claire, and the family will become engaged as well. But though Gerald?s flow of footage will halt, a coda is added to suggest there might be life in the old goat yet and the hiatus in his work output could be temporary.

Though Zarkoff wrote the script for this sequel to his surprise little succ�s d? 14 Cameras (2018) Movie Review from Eye for Film , he passed directing duties along to producers Seth Fuller and Scott Hussion, who exhibit little flair for structure or pacing and are unable to draw anything but the most elementary performances from the cast, although it must be admitted that Archambault remains a menacing presence. Fuller also served as cinematographer, and shows little aptitude in that capacity either. Editor Zach Lee gives the picture no perceptible rhythm, failing to inject any excitement into what is pretty flaccid footage.

Watch October on Prime Buy the DVD at Amazon

October is a difficult film to watch, but not for the reasons one might expect. The drama of a young woman?s life forever changed by injury is merely the backdrop for a too familiar story of an undeserving male character?s redemption.

Varun Dhawan stars as Dan, a hotel management trainee with no likeable qualities. He?s a snob who?d rather delegate work than do it himself, especially tasks he deems beneath him, like cleaning rooms and doing laundry. He?s a know-it-all who loves telling more experienced people how to do their jobs. He?s lazy, yet competitive enough to resent fellow trainees who are smarter and more capable than he is.

Among the trainees, the chief recipient of Dan?s bad attitude is Shiuli (Banita Sandhu). Whether his being a jerk to her indicates some kind of stunted elementary school-type crush or if it?s just his standard jerkiness is unclear. Shortly into the film, Shiuli slips from a third floor balcony at a New Year?s Eve party, rendering her comatose and permanently paralyzed.

Dan wasn?t at the party, so he only learns days after the accident that Shiuli?s last words before she fell were, ?Where is Dan?? This sparks an obsession, leading Dan to spend all of his time at the hospital in the hopes that Shiuli will wake and tell him why she asked about him.

That sounds like the setup for horror movie, yet we know it can?t be, because Dan fits the mold of a common type of Bollywood hero: the boorish man-child who must finally become an adult. The arc for this character type is so familiar ? in the course of falling in love with a good woman, he learns to care for someone other than himself ? that director Shoojit Sircar and writer Juhi Chaturvedi treat the hero?s emotional growth as the inevitable consequence of his devotion.

But Dan doesn?t change in October. He ends the movie as much of an obnoxious know-it-all as he is at the start, correcting Shiulu?s mother Vidya (Gitanjali Rao) on how to properly care for her daughter and wanting praise for his contributions (which include hovering over a workman building a ramp for a wheelchair).

Dan?s dedication to Shiuli?s recovery stems from his wanting an answer from her. He uses his obsession as a measure of moral superiority, criticizing her friends for not spending every free moment at the hospital. He can?t understand that they have other obligations ? to the rest of their friends and families, and even to themselves ? that they must tend to as well.

Movie Review: October (2018) ?s because Dan?s misanthropy and willingness to ignore his own family leave him with no other relationships beside the one he invents with Shiuli, and he?s willing to sacrifice everything to maintain it. He skips work, stops paying rent to his roommate, and borrows money from everyone with no way to pay it back. He?s mean to hospital staff and other visitors.

But because Dan is the protagonist, his single-mindedness is depicted as positive. The little he does for Shiuli mitigates the rest of his awful behavior. On the rare occasions that he is punished, he fails upward. The movie is determined to maintain Dan? Movie Review: October (2018) , in spite of his actions.

All of this is driven by a one-sided devotion. From all indications, Shiuli wasn?t interested in Dan romantically before her accident, and they were barely more than acquaintances. Does she like him hanging around her at all times? If not, she?s physically unable to tell him to leave. Would she want him involved in the minutiae of her healthcare, monitoring things as intimate as the amount of urine in her catheter bag?

In an interview with the Hindustan Times, Sircar said that he and Chaturvedi drew on their own experiences caring for seriously ill parents when creating October. Yet the amount of influence Dan has over Shiuli?s care feels unrealistic. Certainly Vidya knows her daughter better than Dan, thus making her a better judge of Shiuli?s wishes ? especially since Dan is neither the one being subjected to extraordinary medical interventions nor the one footing the bill for them. Vidya?s ready assent to Dan?s will reinforces how little agency female characters have in October.

Watch October on Prime Buy the DVD at Amazon

October is a difficult film to watch, but not for the reasons one might expect. The drama of a young woman?s life forever changed by injury is merely the backdrop for a too familiar story of an undeserving male character?s redemption.

Varun Dhawan stars as Dan, a hotel management trainee with no likeable qualities. He?s a snob who?d rather delegate work than do it himself, especially tasks he deems beneath him, like cleaning rooms and doing laundry. He?s a know-it-all who loves telling more experienced people how to do their jobs. He?s lazy, yet competitive enough to resent fellow trainees who are smarter and more capable than he is.

Among the trainees, the chief recipient of Dan?s bad attitude is Shiuli (Banita Sandhu). Whether his being a jerk to her indicates some kind of stunted elementary school-type crush or if it?s just his standard jerkiness is unclear. Shortly into the film, Shiuli slips from a third floor balcony at a New Year?s Eve party, rendering her comatose and permanently paralyzed.

Dan wasn?t at the party, so he only learns days after the accident that Shiuli?s last words before she fell were, ?Where is October movie review: The real winner here is writer Juhi Chaturvedi ?? This sparks an obsession, leading Dan to spend all of his time at the hospital in the hopes that Shiuli will wake and tell him why she asked about him.

That sounds like the setup for horror movie, yet we know it can?t be, because Dan fits the mold of a common type of Bollywood hero: the boorish man-child who must finally become an adult. The arc for this character type is so familiar ? in the course of falling in love with a good woman, he learns to care for someone other than himself ? that director Shoojit Sircar and writer Juhi Chaturvedi treat the hero?s emotional growth as the inevitable consequence of his devotion.

But Dan doesn?t change in October. He ends the movie as much of an obnoxious know-it-all as he is at the start, correcting Shiulu?s mother Vidya (Gitanjali Rao) on how to properly care for her daughter and wanting praise for his contributions (which include hovering over a workman building a ramp for a wheelchair).

Dan?s dedication to Shiuli?s recovery stems from his wanting an answer from her. He uses his obsession as a measure of moral superiority, criticizing her friends for not spending every free moment at the hospital. He can?t understand that they have other obligations ? to the rest of their friends and families, and even to themselves ? that they must tend to as well.

That?s because Dan?s misanthropy and willingness to ignore his own family leave him with no other relationships beside the one he invents with Shiuli, and he?s willing to sacrifice everything to maintain it. He skips work, stops paying rent to his roommate, and borrows money from everyone with no way to pay it back. He?s mean to hospital staff and other visitors.

But because Dan is the protagonist, his single-mindedness is depicted as positive. The little he does for Shiuli mitigates the rest of his awful behavior. On the rare occasions that he is punished, he fails upward. The movie is determined to maintain Dan?s hero status, in spite of his actions.

All of this is driven by a one-sided devotion. From all indications, Shiuli wasn?t interested in Dan romantically before her accident, and they were barely more than acquaintances. Does she like him hanging around her at all times? If not, she?s physically unable to tell him to leave. Would October movie review: The real winner here is writer Juhi Chaturvedi want him involved in the minutiae of her healthcare, monitoring things as intimate as the amount of urine in her catheter bag?

In an interview with the Hindustan Times, Sircar said that he and Chaturvedi drew on their own experiences caring for seriously ill parents when creating October. Yet the amount of influence Dan has over Shiuli?s care feels unrealistic. Certainly Vidya knows her daughter better than Dan, thus making her a better judge of Shiuli?s wishes ? especially since Dan is neither the one being subjected to extraordinary medical interventions nor the one footing the bill for them. Vidya?s ready assent to Dan?s will reinforces how little agency female characters have in October.

Producer: Seth Fuller and Scott Hussion Director: Scott Hussion and Seth Fuller Writer: Victor Zarkoff Stars: Neville Archambault, Chelsea Edmundson, Amber Midthunder, Hank Rogerson, John-Paul Howard, Brytnee Ratledge, Gavin bWhite, Lora Martinez-Cunningham, Brianne Moncrief, Zach Dulin and Kodi Saint Angelo Studio: Gravitas Ventures

Voyeurism of a most extreme sort was the subject of Victor Zarkoff?s ?13 Cameras,? a low-budget thriller that grew increasingly implausible as it progressed but was nonetheless tightly constructed and genuinely creepy. The sequel expands things by adding not only another camera but needless subplots, and the tightness evaporates. ?14 Cameras? becomes a flat, pointless bore, marked by poor writing and slipshod construction, as well as flat directing and amateurish acting.

In ?13 Cameras,? the villain, creepy landlord Gerald (Neville Archambault), simply spied on his tenants until fatally intervening in their troubled lives. https://tinyurl.com/y7sresd6 was a slim story, but for the most part was crisply staged and executed. This time around, Gerald is more of an entrepreneur who rents out a baker?s dozen of camera-equipped homes, footage from which he streams out to paying customers on the dark web.

He still, however, has his own perverted interests. He keeps Claire (Brianne Moncrief), the pregnant housewife from the first movie, imprisoned in an underground chamber, and when one of his renters, Sarah (Chelsea Edmundson), almost catches him rambling about in her house, he tosses her in as well, though he never seems to have contact with the women except for occasional trips to bathe them tenderly. In one plot thread, Sarah attempts to escape despite Claire? https://ow.ly/6osU101nKxI not to?good advice, as it turns out.

In any event, after a pointless prologue involving a couple (Zach Dulin and Kodi Saint Angelo) who simply banter for awhile before disappearing in their car, the focus shifts to a new bunch of renters: parents Arthur (Hank Rogerson) and Lori (Lora Martinez-Cunningham), their daughter Molly (Brytnee Ratledge) and her horny younger brother Kyle (John-Paul Howard), who has the hots for Molly?s friend Danielle (Amber Midthunder), their guest. Much of the movie is given over to desultory footage of them, enlivened only when one of Gerald?s customers decides to pay the girls an unwelcome visit and Gerald intervenes to protect them.

By this time, however, Junior (Gavin White), a teen who lives with Gerald (and may be the son Claire never knew), investigates what his ?guardian? has been up to and decides to save Claire, and the family will become engaged as well. But though Gerald?s flow of footage will halt, a coda is added to suggest there might be life in the old goat yet and the hiatus in his work output could be temporary.

Though Zarkoff wrote the script for this sequel to his surprise little succ�s d?estime, he passed directing duties along to producers Seth Fuller and Scott Hussion, who exhibit little flair for structure or pacing and are unable to draw anything but the most elementary performances from the cast, although it must be admitted that Archambault remains a menacing presence. Fuller also served as cinematographer, and shows little aptitude in that capacity either. Editor Zach Lee gives the picture no perceptible rhythm, failing to inject any excitement into what is pretty flaccid footage.

To continue reading the review and all of the highly detailed, scene-by-scene listings of the sex, nudity, profanity, violence and more (15 categories): or Just $7.95/month or $47/year I have subscribed to ScreenIt for more than a decade. I check in every week to take advantage of their amazing services. Not only does their site provide a glimpse of exactly what content a movie offers, I've found the ?Our Take? reviews and ratings for each movie to be right on the money every single time. I've referred dozens of friends to this service because my #1 resource for deciding whether or not to show a movie to my kids, or to see one myself, is ScreenIt.com! Josh Nisbet Director, State of CA Public Sector I signed up to get Screen It weekly reviews a long time ago, when my kids were young and I wanted to know more about movies before we went to a theater or rented. Now one child is in law school, other in undergraduate, and I still read the weekly Screen Its! It helps me know what my husband and I want to see or rent, and what to have waiting at home that we all will enjoy when my "kids" come home. I depend on Screen It reviews. They usually just present the facts and let me decide if the movie is appropriate or of interest for my family and me. Thank you for providing that service, Screen It! Patti Petree Winston Salem, NC I have 4 children who are now in college. I signed up for Screen It when my children were pre-teenagers. Often my children would ask to see a movie with a friend and I wished I could preview the movie prior to giving permission. A friend told me about ScreenIt.com and I found it to be the next best thing to previewing a movie. The amount of violence, sexual content, or language were always concerns for me and my husband as we raised innocent kids with morals. We constantly fought the peer pressure our kids received to see films that in our opinion were questionable. With the evidence we received at Screen It, our kids couldn't even fight us when we felt a film may have been inappropriate for them to watch. Thank you, Screen It. Continue to make https://bit.ly/2PitmaC to everyone, but especially the young parents. Christine Doherty Machesney Park, IL Screenit.com is an amazing resource for parents, educators, church groups or anyone who wants to make an informed decision whether a movie is suitable for their viewing. The reviews and content descriptions are so detailed I am mystified how the reviewers can put them together. Scott Heathe Vancouver, BC I love screen It! I don't know what I would do without it. It is well worth the membership. Before we take our son to the movies we check it out on screen it first. Thank you SO much for making it. Keep up Watch Searching 2018 & keep 'em coming!!! Patrina Streety Moreno Valley California

What?s it like to fall in love even as you?re falling apart? In thanostv , Sam Elliott plays Lee Hayden, an aging, mostly out-of-work actor?the cowboy roles in which he used to specialize have all but disappeared. Lee is sanguine enough about the scarcity of acting jobs. But no one wants a cancer diagnosis, and when Lee gets that particular bit of bad news, he heads out to see his pot dealer (Nick Offerman) to indulge in a little self-medication. There he meets another customer, a firecracker more than 30 years his junior, Charlotte (Laura Prepon). The two begin a playful yet often prickly love affair. If the older-dude-younger-woman matchup runs the risk of ruffling some feathers, it should be noted that Charlotte aggressively pursues Lee, and not, as you might expect, the other way around.

You could say The Hero looks like just another story about an older guy who gets one last chance to recharge his life, and you?d almost be right. But director Brett Haley, who co-wrote the script with Marc Basch, brings enough understated sympathy to Lee?s character to make the picture work?it throws off a gentle, sweet-spirited energy. Elliott was superb opposite Blythe Danner in Haley?s 2015 I?ll See You in My Dreams, and here?with his lanky, fence-post frame and a voice as rich and husky as strong coffee brewed in a speckled tin pot?he radiates laid-back sex appeal. There?s plenty of time to ride off into the sunset. Why rush?

This appears in the June 19, 2017 issue of TIME.

Much of director Jesper Ganslandt? BEAST OF BURDEN Review: Flying The Unfriendly Skies of Burden takes place in the confines of a rickety, single-engine plane, with the pilot, Sean (Daniel Radcliffe), the only character seen on screen. The film is quite clearly inspired by Steven Knight?s Locke, not only in its use of a claustrophobic space to intensify the personal breakdown of its protagonist, but also in the way it dishes out nuggets of narrative information through an array of conversations via cellphone and radio. But Beast of Burden doesn?t stick to its guns, and perhaps as a means of standing apart from Knight?s 2013 thriller, it begins around its midway point to make room for a series of flashbacks that attempt to flesh out Sean?s emotional turmoil and past indiscretions that could just as easily have been communicated from within the plane.

As Sean flies across the Mexican border on what he deems to be his final delivery for a drug cartel, he stressfully bounces from one call to the next, forced to juggle the competing demands of a pushy D.E.A. agent, Bloom (Pablo Schreiber), two cartel contacts, Octavio (David Joseph Martinez) and Mallory (Robert Wisdom), and his wife, Jen (Grace Gummer). The growing concerns of his suspicious wife as well as his attempts to play both sides of the drug war?he?s working with the D.E.A. but is still planning to deliver the cartel?s goods for cash to pay for Jen?s escalating medical bills?should all make for compelling drama. But Beast of Burden leans far too heavily on wooden dialogue that mechanically delivers expository information about key plot points and Sean and Jen?s now-contentious relationship.

The film?s flashbacks, which are either too clipped or excessively scored, are even less organic, effectively stepping on the actors? toes. The flimsiness of Adam Hoelzel?s screenplay is only further heightened by the film?s unsightly monochromatic look, which amplifies the cheapness of the ever-present green-screen work. Where Locke was able to visualize a compelling interior world for Tom Hardy?s protagonist while hinting at an emotionally rich exterior world without him ever leaving the driver?s seat, Beast of Burden fails to do so for Sean even when freeing him from the restrictive point of view of the script?s central conceit. The uninspired writing and directing leaves Radcliffe virtually on his own to breathe life and a sense of urgency into a character with less shades of complexity than his farting corpse in Swiss Army Man.

Beast of Burden 2018">

Much of director Jesper Ganslandt?s Beast of Burden takes place in the confines of a rickety, single-engine plane, with the pilot, Sean (Daniel Radcliffe), the only character seen on screen. The film is quite clearly inspired by Steven Knight?s Locke, not only in its use of a claustrophobic space to intensify the personal breakdown of its protagonist, but also in the way it dishes out nuggets of narrative information through an array of conversations via cellphone and radio. But Beast of Burden doesn?t stick to its guns, and perhaps as a means of standing apart from Knight?s 2013 thriller, it begins around its midway point to make room for a series of flashbacks that attempt to flesh out Sean?s emotional turmoil and past indiscretions that could just as easily have been communicated from within the plane.

As Sean flies across the Mexican border on what he deems to be his final delivery for a drug cartel, he stressfully bounces from one call to the next, forced to juggle the competing demands of a pushy D.E.A. agent, Bloom (Pablo Schreiber), two cartel contacts, Octavio (David Joseph Martinez) and Mallory (Robert Wisdom), and his wife, Jen (Grace Gummer). The growing concerns of his suspicious wife as well as his attempts to play both sides of the drug war?he?s working with the D.E.A. but is still planning to deliver the cartel?s goods for cash to pay for Jen?s escalating medical bills?should all make for compelling drama. But Beast of Burden leans far too heavily on wooden dialogue that mechanically delivers expository information about key plot points and Sean and Jen?s now-contentious relationship.

The film?s flashbacks, which are either too clipped or excessively scored, are even less organic, effectively stepping on the actors? toes. BEAST OF BURDEN Review: Flying The Unfriendly Skies of Adam Hoelzel?s screenplay is only further heightened by the film?s unsightly monochromatic look, which amplifies the cheapness of the ever-present green-screen work. Where Locke was able to visualize a compelling interior world for Tom Hardy?s protagonist while hinting at an emotionally rich exterior world without him ever leaving the driver? Beast of Burden Review (2018) , Beast of Burden fails to do so for Sean even when freeing him from the restrictive point of view of the script?s central conceit. The uninspired writing and directing leaves Radcliffe virtually on his own to breathe life and a sense of urgency into a character with less shades of complexity than his farting corpse in Swiss Army Man.

Home invasion horror movies are a subgenre unto themselves, with a fair number of notable entries over the last decade or so. From Michael Haneke's Funny Games and Bryan Bertino's The Strangers to Fede Alvarez's Don't Breathe and, of course, James DeMonaco's The Purge - the latter of which launched a multi-film franchise and tie-in television series - there's a home invasion horror movie for just about every horror fan. Now, Monster Party is the latest entry in the subgenre, but it effectively flips the script on the home invaders, making them the victims of the monsters within the house they were attempting to rob. Monster Party is a violent ride of a home invasion horror movie that puts its own stylistic spin on the genre, but doesn't fully rise above the pack.

Monster Party follows three teens - Iris (Virginia Gardner), Dodge (Brandon Michael Hall) and Casper (Sam Strike) - who support themselves by pulling small-time home invasion schemes. However, when Casper learns that his father owes a violent, scary man thousands of dollars in gambling debt, he convinces his friends to target a much larger score, one that comes with unforeseen complications. Iris and Dodge, who are expecting a child together and want to establish a life for themselves, agree to Casper's plan of robbing the family for which Iris works as a server. Unfortunately for the teenage thieves, the Dawsons - Patrick (Julian McMahon), Roxanne (Robin Tunney), Elliot (Kian Lawley) and Alexis (Erin Moriarty) - aren't the nice family they appear to be.

The Dawsons act strangely from the moment Iris, Dodge and Casper show up at their house, but the night takes an even more bizarre turn when the family's dinner guests show up. Obnoxious Cameron (Chester Rushing) and Jeremy (Jamie Ward), tattooed and guitar-toting Ollie (Diego Boneta), and imposing Milo (Lance Reddick) with Beca (Sof�a Castro) make for an odd assortment of guests. While the Dawsons and their guests are focused on their celebrations, the teenage thieves search for a safe worthy of being robbed and eventually make a play for it - but the security proves to be too formidable for Dodge and Casper and they inevitably trip the house's alarm system. With the teens, the family and the guests all trapped inside, the Dawsons reveal their true monstrous nature and it quickly becomes clear that Casper and his friends must become monsters themselves to escape with their lives.

Written and directed by Chris von Hoffmann (Drifter), Monster Party inverts the typical premise of a home invasion horror movie - wherein the residents are being hunted by outside, would-be invaders - for a new and compelling take on the subgenre. For the most part, the inversion works to put enough of a semi-new spin on the subgenre, though even this inversion of the typical premise is something that's been done before (as in 2016's Don't Breathe). The build-up to the reveal of the Dawsons and their guests' true monstrous ways works to effectively heighten the tension for when the script is flipped on the teenage thieves and they become the prey of much more experienced predators. Though the way Monster Party subverts horror tropes may not be completely fresh, the film does bring new ideas and a new point of view to the genre.

What additionally helps to set Monster Party apart from fellow entries in the home invasion subgenre of horror movies is Hoffmann's stylistic directing. The quick cuts during some of the more grisly moments of Monster Party, paired with lingering shots of the Dawsons and their home awash in opulence and excess, works to juxtapose the characters' wealth with their violent natures. Monster Party is by no means subtle, but the pulpy nature of its presentation works in its favor. Certainly, the movie - and Hoffmann - has something to say about wealth and how it preys on the lower classes, and the movie's tendency to hits its viewers over the head with its message is no better evidenced than in McMahon's Patrick stating he's "ready to make the Dawsons great again." But Monster Party Movie Review is presented by way of a violent, fun, and delightfully bloody kill fest that offers an entertaining ride in its own right. And, with Monster Party Movie Review that feels victorious - until the viewer truly sits with it and what it means for those left alive - Monster Party manages to stick a slightly more subtle landing in its final act.

The cast of Monster Party also helps to elevate the film, with McMahon and Tunney doing much of the heavy lifting in terms of building the tension in the movie until the killing begins. Both veteran actors offer compelling performances, with McMahon's Patrick leaning more toward the manic killer and Tunney playing a more grounded side to their partnership. Still, it's clear from their performances that McMahon and Tunney had fun with the material and that translates to the screen, bringing more entertainment to Monster Party. The rest of the cast is rounded out strongly, with Lawley playing a disturbingly good psychopath in Elliot and Reddick bringing gravitas to the production as Milo. Strike leads the trio of teenages thieves well, presenting Casper's evolution throughout the film compellingly, though he's somewhat overshadowed by the charm of Hall. Still, the cast of Monster Party works well together to bring this story to life - even if the story and killing take precedence over actual character arcs.

Altogether, Monster Party is a middling entry in the home invasion subgenre of horror, putting enough of a fresh spin on the usual tropes and premise to be memorable, but never quite reaching the heights of what the genre has to offer. MONSTER PARTY Review: Malibu Battle Royale enough to keep viewers already interested in horror invested in the events of Monster Party - and offers plenty of gruesome kills in stylistic ways to entertain even seasoned horror fans. But it's by no means a must-see horror movie, especially for those less likely to enjoy violence and gore (though it's not quite the worst the genre has to offer). Still, for those looking for an entertaining horror ride, Monster Party certainly delivers the thrills and kills to keep viewers hooked throughout the film's brisk hour and a half runtime.

Monster Party is now playing in select U.S. theaters. It runs 89 minutes and is not rated, but is intended for mature audiences.

Let us know what you thought of the film in the comments section!

Author Nick Hornby is known for his charmingly eccentric romantic comedies, full of music and awkwardness and difficult relationships. And the latest adaptation of one of Hornby�s novels, Juliet, Naked, tackles many of the beloved author�s typical topics with both heart and humor. Juliet, Naked stars Rose Byrne as Annie, a mild-mannered art historian who lives with her boyfriend, Duncan (Chris O�Dowd), in a small seaside British town. For years, Duncan has been obsessed with Tucker Crowe (Ethan Hawke), a popular singer-songwriter who disappeared in the middle of a show in 1993, and it�s taking a toll on their relationship. When Annie takes to his beloved message boards to criticize a long-lost album of Tucker�s songs, she�s contacted by the artist himself, and the two become unlikely transatlantic pen pals, sharing their deepest thoughts and feelings. Hornby definitely knows how to write about things like romance and obsession and music�and the cast of Juliet, Naked perfectly portrays the awkwardness and snobbery of the characters he created. O�Dowd�s https://www.thanostv.org/movie/juliet-naked-2018 is so ridiculously pretentious and amusingly insufferable. A pop culture professor, he spends his days talking to students about the joys of television before coming home to spend hours discussing the life, the music, and the potential whereabouts of a man who stepped out of the public eye decades ago. His office is a shrine�and he can�t tolerate anyone who doesn�t share his views of his idol. Byrne�s Annie, meanwhile, makes an absolutely lovable lead. Awkward and insecure, she�s spent the last 15 years of her life living for everyone else�taking over her father�s job after his death, caring for her outgoing younger sister, quietly putting up with Duncan�s whims and obsessions. Her few small moments of strength lead her to Tucker�and to a digital relationship that allows her to be open and honest about her life and her dreams (and even about her opinion of his music). There�s so much to these characters, their relationships, and their lives, that the film just can�t explore all of it�and, at times, you might find yourself wanting to dig a little deeper into a part of the story. But even when it just skims the surface, it�s still a thoughtful and undeniably charming romantic comedy. If you�re looking for a rom-com that�s more warm and lovable than wild and crazy, Juliet, Naked is a worthwhile pick for your next movie night. You�ll fall in love with the characters and their story�and, after it�s over, you may find yourself feeling nostalgic for your favorite old artists and albums, too. Listen to the review on Reel Discovery: