Now this is a real storage war. While they might seem rather mundane, a storage facility is a great place to set a horror movie. The long, narrow and, empty corridors can be freaky under the right circumstances. You could easily find yourself lost and far from an exit. It’s not the ideal place to become trapped and hunted.

On an ordinary day in London, Charlie (Noel Clarke) and his best friend Mark (Colin O’Donoghue) are stuck in traffic on their way to a storage facility. Charlie’s girlfriend of 5 years has just dumped him and he’s going to pick up some of his belongings. They are stuck in traffic because of some kind of massive, unexplained crash. A quarantine has been declared and the city is in chaos. 

This review was originally posted in September during our Fantastic Fest coverage.  We're re-posting in time for the film's release this Friday.

When we last saw Josh Stewart's Arkin in 2009's The Collector, he was in a bit of a tight spot.  Things were not looking good for the thief who, while on a job, met a lethal, black mask-clad, seemingly unstoppable home invader.  I'll refrain from repeating what went down at the end of The Collector, in the event you never saw it (and if you didn't, maybe you should avoid this review).  Nevertheless, I thought the first film was solid, entertaining, fairly ruthless and it boasted the visual strengths of Marcus Dunstan as a director who had, until that point, made his mark on the genre co-writing some Saw sequels and the Feast films.

With The Collection, Dunstan (and creative partner, co-writer and producer Patrick Melton) is back behind the camera with more confidence for a sequel that takes things to all-new extremes.  If you really liked The Collector, chances are, you're going to really like this next sick entry quite a bit.  It's a little less intimate than its predecessor; however, it's bigger than and just as wicked as the first.

Evil Ernie is one of those characters you think you know about because he was a part of the huge comics boom in the early '90s. Though I will admit I don't know nyxg about the character because the 'uber tough' and overly violent comics of that era are of no interest to me. Since his creation, Evil Ernie has gone through a lot of different publishers and several miniseries featuring the character have come around but now he's taken to the latest comic book trend and gone for the reboot.

Dynamite Entertainment has brought the character back to life, that's a joke for those of you that are familiar with Ernie, and it's not vapid or boring like some other characters' reboots.

The first two issues of the newly polished series are in stores now and they're a nice departure from the other stuff on the stands. While other horror comics are content in rehashing zombie stories, Evil Ernie is bringing back the Satanic mass murder subgenre and how can you not love that? Writer Jesse Blaze Snider, son of rocker Dee Snider, has brought the character back but contained him in a way that keeps him interesting. In '90s comics it was all about how big and bad something can be, while that's still on the table for this series it isn't trying to outdo everything else in the market.

Delusion: The Blood Rite is one of the most thrilling and innovative haunted experiences I participated in this Halloween season.  And I'm kicking myself for waiting so long to see it.

Labeling itself as "an interactive horror play," I imagined Delusion as a standard stage performance, however, and thankfully, that is not the case at all.  In fact, it's a traditional walk-through haunt.  But there's nothing traditional about it.  It's not a maze.  You won't find animatronic creeps and skeletons leaping out from the dark.  Instead, it's a guided trip through an old mansion (located near downtown Los Angeles right in the middle of a tenement-filled neighborhood) and you are part of its supernatural  tale.

After having huge success with North by Northwest, 60-year-old filmmaker Alfred Hitchcock (Sir Anthony Hopkins) reads Robert Bloch's novel "Psycho," based on the serial murders by Ed Gein, and becomes obsessed with making it his next film, to the point of funding it with his own money.  Meanwhile, his wife Alma (Helen Mirren) is having her own issues as she feels she's losing her husband to the film's nubile starlets, so she decides to work on her own project with a good-looking younger writer (Danny Huston).

Movielovers' endless fascination with the stars and filmmakers of yesteryear has led to many decent films like last year's My Week with Marilyn and Richard Linklater's Me and Orson Welles.

Directed by Sacha Gervasi of Anvil! fame, Hitchcock offers a similar thrill of getting inside the head of the famously eclectic filmmaker during one of his most creative phases. Despite being based on the novel "Alfred Hitchcock and the Making of Psycho," this isn't just about the making of the filmmaker's most successful thriller as much as it's about the stress put on his marriage by his decision to make said movie.

Rosemary’s Baby belongs to that rare breed of film that always provides a challenge to critics – the kind that’s perfect. Even a movie with just a few flaws can offer something to critique. But what to do with a film that has a perfect cast (headlined by Mia Farrow in the role that made her a star), a razor-sharp screenplay (based on the bestselling book by Ira Levin), and masterful direction (courtesy of Polish filmmaker Roman Polanski, who also penned the script, here making his American debut)? Fortunately, there is one thing about Rosemary’s Baby that’s always bothered me: it might be too perfect. 

By which I mean that Polanski’s film sticks so closely to Levin’s masterpiece (one of the leanest, most coldly efficient horror novels even written) that it might appear redundant. This doesn’t really matter unless you’ve read the book of course. It certainly didn’t bother me when I first saw the film as a young college student (and discovered to my eternal delight that I share the same birthday as the titular tyke).  But when I finally got around to picking up the book, I was amazed at how not only the plot – about a young Upper West Side housewife who finds herself victimized by everyone in her apartment building, and, just maybe, the Prince of Darkness himself – was faithfully preserved, but that Polanski had kept most of the dialogue (usually the first thing to go when a screenwriter is trying to establish a film’s voice). Even the colors of the costumes are faithful to Levin’s descriptions of clothing. “Why bother with the movie?” I thought. “It’s all there in print!”