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True survival horror is not a thing we see a lot of these days, and it's even rarer to see it done truly well. _Prey_ an example of the former, but not so much the latter. It is okay, and reading some audience reviews of _Prey_ it seems like I did enjoy it more than most, but I can definitely see those complaints being made as valid. _Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
Prey stalks its victims by offering a suspense-free horror flick that seems more idyllic than terrifying. Y’know, when I temporarily go insane or witness a traumatic incident, I openly discuss my feelings with a therapist or spend the day watching films involving eternal happiness. Had I been referred to a behavioural rehabilitation programme that sends its clients to a supposedly uninhabited island for three days for the purpose of “finding myself”, with only your survival instincts equipped, well I’d probably be a much different person than I am now. These are psychologically disturbed characters, granted the freedom of an entire island, to do whatever the heck they want. Build a campsite, create some intricate traps, slaughter the local wildlife and even murder each other. The insurance costs must’ve been catastrophic! Khalfoun conceives a ridiculously contrived premise and, essentially, serves it to the demonic beast entity thing that prowls the luscious jungles of the island. What is a horror film without suspense? What is a psychological thriller without character development? What is a film without entertainment? Khalfoun irrefutably understands no element into adequate filmmaking. None! Cheap mundane jump scares that were predictable right down to the very second. More plot holes than a washed up sponge from the nearby capsized boat. Enough foreshadowing to plunge the island into everlasting darkness. Aside from Miller who atleast attempted to bypass the shoddy script he was given, the acting was weaker than a coconut branch surviving a monsoon. Expositional flashbacks, that resembled advertisements for a “hot rod” vehicle, clumsily spliced into the main narrative through inexplicably basic editing. However, what truly makes Prey a bloodthirsty piece of life drainage, are the details. We are to believe that a young girl and her mother, have lived on the island for over a decade. That’s fine and all, but when she looks fresher than a speared fish, something’s not right. Eyebrows plucked, makeup on point, hair pristinely straight as she conditions using TRESemmé. You sure she didn’t reside in a salon for a decade? Not to mention Toby transforms into Bear Grylls in a matter of days. Where the hell did that come from!? Khalfoun attempts to fool audiences by leading viewers down the path of imagination. Inferring that the protagonist is in fact fabricating all this nonsense. The five minute self-conversational scene explicitly hypothesised that his lunacy was profound. Yet whilst that would’ve been clichéd and typically dull, that scenario would’ve fared better than the one devised by Khalfoun. Cult rituals. Voodoo shenanigans. Cave full of multi-coloured paintings. All culminating into an ending that made me want to squish some numbing berries onto the disc and serve it to the beast itself. What was that? Seriously! I loathe endings that make the whole ordeal pointless. Detest them. Especially when there was a perfectly available boat in the middle of the film! Where did the rescue raft go that was beached by the programme manager? The CGI demonic swine could obviously swim, considering that atrocious conclusion. Urgh. No more. Atleast Robbins’ cinematography made the idyllic island endurable. Prey exercises all of the worst traits found in uninspired low-budget horrors, and doesn’t even attempt to hide from its predatory allurement, consequently cementing this as one of the worst of the year.
The story focuses on the 16-year-old Protagonist after he is transferred to Shujin High School in Tokyo. Staying with friends of his parents, he meets up with two fellow students, problem child Ryuuji Sakamoto and withdrawn Anne Takamaki, and a talking, shape-shifting cat-like creature known as Morgana. During his time there, feeling suppressed by their environment, the four form a group known as the "Phantom Thieves," working together to carry out heists and encountering mysterious phenomena along the way.
A renowned exorcist teams up with a rookie priest for his first day of training. As they plunge deeper into hell on earth, the lines between good and evil blur, and their own demons emerge.
Shuhei, a mystery writer, is invited to a dinner party at a country house. The guests include Tanase and his wife Noriko. Next day, Tanase is shot and Noriko with a gun stands near him. Tanase calls one of the guest's name and dies.
After being thrown out of medical school for ethical violations, Dr. Peter Blood returns home to a small Cornish village, where he sets up a research laboratory in a secluded cave. There, he attempts to revive the dead, using kidnapped humans - who he views as unworthy of life - for their body parts, specifically, their hearts.
When a storm washes a canoe bearing an infant boy ashore upon a small South Pacific island, he is at first well-received as a gift from the heavens, even to the point of the tribal chief adopting him as a successor. However, with time as hardships are blamed upon Tama (as he is named), he is finally outcast to live with the poorest people on the island, Mahana and her drunken father. Mahana is considered homely and undesirable, but Tama feels differently, so when he is old enough to build a craft to sail away, he vows to return for her one day. A lucky stroke brings him to land upon the island of the legendary Johnny Lingo, the wealthiest trader in the islands, and after years of service to him, Tama has learned much about life and himself as he dreams of honoring his pledge to Mahana.
The inhabitants of a small, remote island have been practicing voodoo rites and worshipping an evil priest named Damballah for years, but the local law officials generally turn a blind eye to this death cult's bizarre activities. Captain Labesch arrives from the mainland, determined to crack down on the island's lawlessness and clean up the ineffectual, hard-drinking police force. He appeals for assistance from wealthy plantation tycoon Carl Van Molder, who owns nearly half of the island and wields a great deal of influence over the population. Van Molder has made the study of parapsychology his life's work and believes in the secret powers of the mind. He warns Labesch not to interfere with this forgotten island's ancient ways. Also visiting is Van Molder's niece, Annabella, a temperance crusader who wants her uncle to help fund the International Anti-Saloon League. She falls in love with handsome police lieutenant Andrew Wilhelm
Michael is a successful actor, but he has a scandal in his past: at a tender age he knifed his father to death. He and his girlfriend Deborah go to his mother's for the weekend, and are joined by the director and others from a recent film project, who are given a rather cool reception by the superstitious housekeeper Oliver. Soon rude things begin happening to some of the guests, and Michael fears a repeat of his nightmare past is in progress.
After her father gets killed in an automobile accident, Kristel Lodema discovers that her dad was investigating an old mine where convicted child killer Andries Martiens died back in 1857. Kristel decides to check out the mine along with a group of young adults. However, said mine turns out to be haunted by the dangerous and murderous spirit of Martiens.
Seven years after the massacre of the first film, the survivors Niandra and Eliseu still fear the return of Geison, the terrible psychopath who mutilated his friends on a Friday the 13th. New murders start happening in the small town of Carlos Barbosa, putting a new generation of victims as targets of the killer. But who is behind that "Scream" mask?
A man and a woman are poisoned. The woman dies, but the man survives. The finger of blame begins to point at the man. A policeman and a newspaper journalist pursue the truth.