Konami has announced Silent Hill f is set in 1960s Japan, where horror and psychological tension intertwine in an unforgettable narrative to find beauty in terror.

A new trailer offers a first glimpse at the creatures and combat in Silent Hill f. The game follows Shimizu Hinako, a teenage girl struggling under society’s pressure of expectations, as she navigates her hometown of Ebisugaoka now shrouded in fog and undergoing a disturbing transformation. Players will have to unravel mysteries, battle otherworldly threats, and come face-to-face with choices that will determine Hinako’s fate.

In the remote mountain town of Ebisugaoka, teenager Shimizu Hinako leads an unremarkable life, until a thick fog descends, transforming her once-familiar home into a desolate and terrifying place. With the town seemingly abandoned and an unknown, creeping menace lurking in the mist, Hinako must navigate the spectral remnants of her past, solve intricate puzzles, and battle horrifying entities to survive. Faced with impossible decisions, she must ultimately choose between beauty and madness, confronting the horrors that await within the fog.

Silent Hill f will challenge players with uncomfortable themes and their attached psychological torment. The game reflects the customs and culture of Japan during that era while delivering an intense and deeply emotional horror experience.

Silent Hill f will launch on 25th September 2025 for PlayStation 5 and Xbox Series X.

The post SILENT HILL f. The Next Chapter appeared first on Shane the Gamer.

We are very much in the market of remasters.

Recently The Last of Us Part 2 released, the epic RPG Oblivion, and here we have a rework of Days Gone, a game that released six years back on PlayStation 4.

Playing out like a Hollywood blockbuster, or a TV series that you never want to miss an episode of, Days Gone places you in the role of Deacon, a biker, member of the ‘Mongrels’, who himself has had a very checkered and colourful path leading up to the outbreak that wiped out humans, turning them in to what is known as ‘Freakers’. An insanely feral zombie like humanoid that will do anything to get to living flesh.

Your play starts out after all of the drama and chaos ensued when the outbreak occurred. Before you is an open world in the back roads of Pacific North West America. Yourself, as Deacon and his best friend Boozer are embarking on many a deadly road trip as mercenaries for hire, taking bounty’s and slowly making their way North.

Of course, nothing really goes to plan. Asides from hordes of ‘Freakers’, Deacon must look out for other humans aswell. A ravaged nation gives birth to sects, groups, small and large camps, survivors ruthlessly doing what they must to continue their existence. Some friendly, some definitely not.

The back story opens up throughout play, and you eventually find out that maybe, just maybe there’s more to the outbreak that spread across the Globe. You also learn more about Deacon. The good, the bad and his lost love.

Resources are scarce, including medical supplies, ammunition and fuel.

Deacon traverses the ‘Freaker’ infected countryside and towns on his bike. The relationship between man and machine is paramount in this game.

You must also continually look for fuel (syphon from abandoned vehicles, steal from camps or find fuel cans by exploring environments), and keep up maintenance on your bike.

Almost like a character of its own, Deacon’s bike can be a needy beast. It will wear down with use and depending on your driving skills, or lack off, and may need more or less maintenance as you forge ahead.

The storyline will update to your play style – and while there is a main story, there is so much to be done on the side.

Days Gone is a game that adheres to how you play and will work the main story in with your in-game activities.

Whatsmore, unlike previous zombie titles, in Days Gone, it’s not only the human population that was afflicted.

Hiding in the wilderness does not mean that you are safe. Infected bears and dogs are also hungry for non-infected humans.

Then there’s the hordes. This is where the chaotic energy of this game comes in as literally hundreds upon hundreds of ‘Freakers’ surge towards you. Each individually animated – pushing eachother, tripping over eachother… in Days Gone, it is okay to run away if you can.

Asides from the rabid dogs and bears there are differing levels to ‘Freakers’ aswell. The most unique are Newts, which appear to be infected children. There’s also a sect known as Rippers. Somewhat transformed, most definitely insane from the apocalyptic-like events that took place.

Days Gone is not a run and gun title. A lot of stealth and strategy will come in to play. More often than not, you will either have no ammo, or be extremely limited – down to your last bullet. Making use of cover, stealth and your environment will get you through. Maybe.

The infected are tuned to listen out for noise. One sound at any given time, could attract a giant horde. Your one bullet that you have in your chamber is not going to go far.

You need to be super resourceful where you can. It’s almost as if the devs at Bend Studio give you just enough, but no more.

Scout around, explore. It’s a large landscape and a lot of goodies to be found. Scrap which can be used for trade or to craft items. Bike parts as and when you need them. Med kits are a necessary. ‘Freaker’ and Newt ears are taken as trophy’s, these too can be used for trade with other NPC’s and in friendly camps.

Days Gone has a very robust RPG element. Your skill points, earned throughout gameplay with varying objectives achieved or completed are used for Deacon upgrades; health, stamina and more. Your bike can and will also take on necessary upgrades aswell.

Crafting weapons and enhancements is super rewarding and will of course give you more of an advantage in-game.

Days Gone shouldn’t be coined as ‘just another zombie’ game. It is a fully engaging story mixed with compelling and challenging survivalist gameplay. It’s original release, and now this remaster I feel is easily overshadowed by the likes of The Last of Us, another zombie-esque game, but Days Gone is unique enough to be in its own class.

This new redo features new modes of play, Horde Assault, Permadeath and Speedrun.

If you never picked up the PlayStation 4 version, now’s the best time to join the biker gang and fight for survival.

The post Days Gone Remastered (PlayStation 5) Review appeared first on Shane the Gamer.

Companion is a fresh new addition to the horror / SciFi genre, garnished with deliciously dark comedy.

If you have managed to not see a single thing about this film yet, I implore you to close this review and go into the movie cold. (This is your spoiler warning).

But if you have seen the trailer or read the synopsis, then you’ll already know what’s coming. But trust me, this knowledge doesn’t take away from the fun to be had.

The film opens on an awkward meet-cute between Iris (Sophie Thatcher) and Josh (Jack Quaid). It’s a fumbling love at first site.

Next thing we know, the two lovebirds are on their way to a getaway with Josh’s friends. Iris is uncertain, aware that his friends treat her differently.

But what starts as a normal getaway quickly unravels when Iris ends up with blood on her hands.

And then suddenly the love of her life has her tied to a chair and the bomb is dropped. She’s a robot, more specifically, a companion robot bought and controlled by Josh. Their meet-cute was simply programming, as are her feelings for him. And Iris herself in the middle of a scheme she was unaware of.

His once-endearing nickname for her – ‘Beep Boop’ – now both extremely comedic and a slap to the face.

This film is a blast, as we watch Iris fight for survival and unravel her own identity.

The characters in this film add moments of joy and tension. Alongside the unravelling of Iris and Josh’s relationship, we see the inner workings of the relationship between Eli (Harvey Guillen) and Patricks (Lukas Gage). They’re more than just background characters, and their moments of tenderness make you question the ethics of human / robot relationships.

Sadly, the only other female character, Kat (Megan Suri), isn’t fully formed. She despises Iris and doesn’t really seem to like her friends all that much either. While not necessarily plot important, it was a bit of a let-down to have one member of the small cast not have as much material to work with.

But this movie is where Sophie Thatcher shines.  The new scream-queen has found her horror calling and she’s truly a spectacle in this film. The not-quite-human walk and the microexpressions add nuance to Iris. Every movement builds the character and makes you feel completely enamoured by her.

Jack Quaid and Lukas Gage are the other stars of this film. Both with a handful of horrors under their belt, they delivered performances equal parts terrifying and hilarious.

The humour in this film is a perfect balance to the darkness. From Iris changing her language settings, to finding out her namesake – there were plenty of chuckles in the theatre. It’s camp, it’s fun. It’s Ex Machina for the less serious.

There are probably more faults with this movie. It’s not a new plot in the slightest. But the pink hue and new-age comedy shine through. I went in with high expectations and walked out perfectly satiated.

So while this film should probably be 4 stars, I’m rating with my heart.

My Sophie-Thatcher-kicking-ass loving heart.

The post Companion (Warner Bros. – 2025) Review appeared first on Shane the Gamer.

Where did the time go? Almost 10 years back a Triple AAA PlayStation exclusive released that fused a cinematic-like horror with player decisions.

That game was Until Dawn.

If you survived the first round on PlayStation 4, you can jump back in this remaster, now on PlayStation 5.

The story begins with a cliche but still entertaining horror trope, a group of friends staying at a Blackwood Pine lodge on Mount Washington, British Columbia for their annual winter vacation. The lodge is owned by the parents of Josh and his sisters Hannah and Beth. A spiteful joke goes wrong and an upset and embarrassed Hannah runs into the dark wood, with her sister chasing after her. They are never seen again.

After one year the group meet up at the isolated lodge once more to remember their missing friends. It’s not long before they find themselves hunted by a twisted psycho and fighting for their lives. But there seems to be more at play, and a mystery going back over fifty years.

At time specific times you take control of all eight of the main characters, which is set over one night.

Gameplay is fluid but it’s a slow pace as each character has their own individual thing going on and their own select horror experience.

As Until Dawn plays like a horror film you can expect a lot of cut-scenes throughout, there are a lot of cut-scenes broken up with decisions that you need to make, which ultimately result in the fate of that character, and the entire narrative.

Every decision you make has consequences. This keeps Until Dawn near-to fresh on every play-through.

This remastered version has been graphically retooled from the ground up, making your on-screen visual experience all that more real, surreal and for some, horrific.

The facial animation is on point, the very stiff and clunky character movement we saw in the original version is now more natural.

From the dark and foreboding environments through to in-play to cut-scene transitions, this is the Until Dawn version you should play, providing you can survive the night.

The post Until Dawn Remaster (PlayStation 5) Review appeared first on Shane the Gamer.

Rob Zombie has made some truly bizarre movies.

He has some distinct visual styles that make his movies unmistakable. From the unique films like House of 100 Corpses and The Devils Rejects, to his remakes of the Halloween franchise, they all have a very Rob Zombie vibe.  Well somehow I missed one of the stranger ones, The Lords of Salem which was released twelve years ago.

And as weird as it is, I am glad to have finally checked it out.

The Lords of Salem takes part in, can you guess, that’s right Salem.

It turns out the Salem Witch Trials actually killed a bunch of witches, but since they managed to get a curse off before they died, their terror hasn’t ended yet. We jump forward to the current day where Heidi is a DJ working at a local radio station. Played by Sherri Moon Zombie, she is living her life when a weird record is dropped off by an artist called Lords. Heidi takes the record home and plays it where she sees the scenes that occurred back in the 17th century.

The music gets played on the radio where it corrupts a bunch of other women’s minds. Not long later Heidi sees more flashbacks, and some crazier images and hallucinations around her. The day they played the record ont he radio, they had an author who has written a book about the Salem Witch Trials on the station. After hearing the record he starts looking into things including Heidi’s lineage back and starts looking into the weird stuff going on.

The biggest issue the movie has, is that since it tells us the witches were actual witches who were worshiping Satan, if you took some of those scenes out, you would be left with a mysterious movie that could have left you wondering what was real and what was happening in Heidi’s mind. A lot of the weird scenes could have kept the whole movie a mystery until the end, and would have been really intriguing. Instead we know what’s up and despite some cool, yet trippy scenes, it just doesn’t have the punch it could have had.

This is especially unfortunate because even amongst a reasonably solid cast, Sherri Moon Zombie does an incredible job in her role. She really could have driven a mystery that really left you questioning her sanity or what was real. Instead we are left with bizarre scenes that become more of a supernatural movie with some grotesque scenes.

Despite some really cool stuff, The Lords of Salem just winds up landing in that annoying space where great acting, great scenes, and interesting ideas wind up being an okay movie. If you haven’t seen this one yet but are a fan of Rob Zombie’s films, it’s well worth a watch. It’s not his best, but it’s still strange and weird. This edition has a dope hard cover box with a lenticular cover which makes it all the sweeter. It’s not a must watch, but it’s fun.

The post The Lords of Salem – Limited Edition (Bluray) Review appeared first on Shane the Gamer.

Tim Burton returns for the next dose of the juice.

After 36 years, the iconic cast make a comeback to reanimate a cult classic with Beetle​​juice, Beetlejuice.

We are living in a ‘remake, reboot, recycle I.P.’ cinema frenzy, so I wasn’t surprised to see Burton return to these much-loved characters.

Beetlejuice, Beetlejuice sees a now-professional medium, and TV personality Lydia Deetz (Winona Ryder) returns to Winter River with her step-mother, Delia (Catherine O’Hara) and moody daughter Astrid (Jenna Ortega). When Astrid accidentally opens a portal to the afterlife, Lydia is forced to face Beetlejuice once again.

A lot of time was spent setting up the story. A host of new characters and motivations are introduced through an over-convoluted yet undercooked script. It was made even more tedious by the lack-lustre ‘real world’ – which felt stripped of any visual interest.

By juxtaposition, the afterlife felt way more – alive. When we finally get into the action, and get to truly see Burton show off his Burton-ness we’re already an hour into the film. But the playful set-design and visual gags breathe life into the film, and make you forget how lifeless it felt moments before. Willem Dafoe takes on the role of film noir detective caricature, stealing the spotlight of the film with his antics. And Beetlejuice’s shrunken-head employees are thoroughly entertaining.

The dark humour of the first film remains, perhaps a bit more -savoury- this time around. Michael Keaton dons his stripes and brings his same sleazy presence, but this time with slightly less predatory vibes. A disgraced cast-member’s absence is evaded with special effects. And Burton responds to the backlash for lack of representation in his films with an on-the-nose soul train joke.

The juice may be loose, but so was the plot. Despite the time spent setting everything up, there were simply too many threads to tie together in the end. Delores, Beetlejuice’s ex-wife (played by Tim Burton’s real-life partner Monica Belluci) has no real storyline or impact on the plot. It felt more like a drawn-out cameo. As for Astrid, her character and story simply felt like an episode of Wednesday.

Perhaps my scepticism of this film comes from the fact that I am not a die-hard Burton fan. His stop-motion projects have a special place in my heart, but I’ve found most of his recent live-action work sub-par.

However, this film will appeal to the Betelgeuse fanatics. It’s rife with nostalgia bait and doesn’t take itself too seriously. While it may not be the brilliant comeback for this auteur some may have hoped for, it was rather entertaining.

The post Beetlejuice, Beetlejuice (Warner Bros – 2024) Review appeared first on Shane the Gamer.

I went along to Alien Romulus with just a few vague memories of the first film that I watched probably once, and way too young.

I know the franchise’s significance, but I somehow have made my way through life, and a SciFi film paper, without watching any more of the films.

And from a completely naive standpoint, I had a lot of fun.

At a very surface level, the movie did exactly what I expected it to. It was tense and gritty, with a solid budget, great acting and really cool effects.

But now that I’ve had time to digest it, I feel it was a mixed bag.

The majority of the film is a love letter to the original Alien series. It follows the same tried-and-true formula to deliver a story we’ve seen with fresher faces.

It spends ample time paying homage to its predecessors. Even without knowing all the references, they were made so obvious that I knew when I was supposed to say ‘Oh that’s a callback!’

Some references were tasteful, some not so much.

A misguided deepfake of an Alien OG with the sole purpose of an exposition dump felt rather disappointing. Furthermore, it felt so uncanny it took me out of the movie. When sitting alongside spectacular practical effects, you can really see the flaws in the CGI.

There was a lot going on in this movie.

It was evident that the film was toeing the line between trying to stay true to the franchise while also bringing in new ideas. And some of these new ideas got lost amongst the chaos and never quite landed.

Knowing this movie sits between Alien and Aliens, it was clear that anything introduced would have to cease to exist by the end of the film.

But still, it felt authentic to the Aliens universe. And this was largely due to the set design, special effects, cinematography and sound design. There was such a high level of craft put into making this film look, sound and feel true to the originals.

To be completely transparent, a huge reason I was keen for this film was because I really enjoyed Archie Renaux in Shadow and Bone.

I thought the entire cast was refreshing and I applaud the movie for creating space for up-and-coming talent.

The stand-out stars were definitely Spaeny and Jonsson. As the heart of the whole film, they really sold me on this movie. Their scenes together were poignant and powerful, and I was rooting for them the entire film. They truly delivered.

So then we get to the end of the movie.

In the last twenty minutes of the film, it’s like someone flipped a switch. No longer were we in a Scott / Cameron love fest.

With Fede truly showing off his style in the final act, the film starts to find its own identity.

While I don’t know if the actual final plot of the film fully gave me what I wanted, it definitely was nice to see the director take a new direction.

So where do I stand with all of this? I think the movie may have tilted a bit too far into fan-service and not everything landed.

But apart from that, it was a beautifully made thrill ride. It leant heavily into the horror and had an intensity that left me speechless. It’s definitely a film you want to watch on the big screen.

As I have been racing to catch up by watching Alien movies back to back, I can say this is a solid addition to the franchise.

The post Alien: Romulus (20th Century – 2024) Review appeared first on Shane the Gamer.

Fresh from its world premiere at Whānau Mārama New Zealand International Film Festival and ahead of its September 12, 2024 theatrical release, the trailer for new kiwi horror film Grafted has dropped.

Shot across Auckland, New Zealand, Grafted stars new and rising actor Joyena Sun (Blood and Gold, Wait), alongside Kiwi breakout star Jess Hong (3 Body Problem, My Life is Murder, Creamerie), Eden Hart (Madam, Sweet Tooth, Creamerie) and Jared Turner (The Convert, Sweet Tooth, Power Rangers).

The film tells the story of a Chinese student (Sun) who travels to New Zealand to complete the scientific work of her deceased father, only to find a new way of achieving the popularity she so desperately craves by putting her studies to a new, and terrifying, use.  Additional casting includes Sepi To’a (The Castaways, Spontaneous Human Combustion), Ginette McDonald (Time Bandits, My Life is Murder) and Mark Mitchinson (Madam, Our Flag Means Death).

Grafted is the full-length directorial debut of award-winning Sasha Rainbow, whose short film Kamali was nominated for a BAFTA and long listed for an Academy Award. Grafted is written by Mia Maramara (Kāinga, Power Rangers), Hweiling Ow (T is for Talk, The Tattooist), Lee Murray (Aurealis, British Fantasy), and Rainbow.

Ow conceived the story from her own experience as an Asian immigrant, to create a unique coming-of-age horror story and sees Grafted as “a way to explore important themes like privilege, race, sex and cultural alienation.”

Collaborating on the final script with Murray, Rainbow says, “When I first read Grafted, I was blown away. It’s so easy to turn away, to avoid confronting what makes us uncomfortable but I love the social commentary of the themes in this film and its reflection on how society creates its own monsters.”

Grafted is brought to life by, and showcases the exceptional talent of, young female actors Joyena Sun, Jess Hong and Eden Hart, who deliver standout performances under the direction of Rainbow. “She really connects with the actor and collaborates. She wants to hear everyone’s opinion” says Sun of working with Rainbow.

The cast are supported by an experienced production team including DOP Tammy Williams (Stylebender), production designer Nathan Taare (The Hobbit trilogy, Mulan), costume designer Kyle Callanan (Godzilla x Kong: The New Empire) and make-up designer Tracey Henton (Love Me, The Subtle Art of Not Giving a F*ck).

Grafted is produced by Murray Francis (The World’s Fastest Indian) of Propaganda Films and Leela Menon (Dawn Raid) of FluroBlack, with Fraser Brown (Stylebender) of FluroBlack as executive producer. The film was made with financing from Te Tumu Whakaata Taonga New Zealand Film Commission, Head Gear Films, FluroBlack Media, Department of Post and private investors. The film will be distributed in New Zealand by (YET) Another Monster Company.

The post NZ Film ‘Grafted’ Coming to Shudder appeared first on Shane the Gamer.

Alien: Romulus returns the sci-fi franchise to its roots with an entry that draws on the horror premise of the original film rather than the high-brow aspirations of the most recent entries.

Set sometime between the events of the first and second movie, Alien: Romulus is a more grounded effort as opposed to having the philosophical undertones of Ridley Scott’s Prometheus and Alien: Covenant. The result is a more approachable movie but sometimes feels more like a video game.

The original Alien movie, at its heart, was a slasher movie set in space. Following that first movie, subsequent filmmakers, and Ridley Scott, himself, seemed to overlook what makes the Alien universe so appealing. In a nutshell, it’s essentially a load of blue-collar workers in space working for a shit company. Something very relatable for most of us. In the case of Weyland-Yutani quite possibly the shittiest company ever.

Aliens shifted the series more towards that of an action movie. The third movie, which could have ended novice director David Fincher’s career, didn’t know quite what it was. The fourth movie, well, we’ll leave it at that. Even Ridley Scott’s return to the franchise struggled to revitalise the series.

Alien: Romulus seeks to right the ship.

After a brief dialogue-free scene-setting sequence that suggests that “the company”, Weyland-Yutani, is up to its old tricks, Alien: Romulus takes us back to the 1970s retro-future of Alien. Rain and her “brother”, Andy (a salvaged synthetic programmed by her late parents to look after her) live on Jackson’s Star, a Weyland-Yutani mining colony. The grim place is also in perpetual darkness.

The movie gives us a better idea of the conditions the people of Hadley’s Hope lived under that was only alluded to in James Cameron’s Aliens. The colonists, effectively indentured slaves, are forced to work for years to buy their way to a better life on a terraformed world. Most, though, end up dying of one of the novel illnesses that seem to afflict space-faring humans.

A group of Rain’s acquaintances have had enough of being exploited by the company and have found a derelict space station in the ringed planet’s orbit. The station has the cryo-pods that they need to make the nine-year space voyage to freedom. The only catch is that they need Andy’s help, as a Wayland-Yutani synthetic, to access the station. Of course, the salvage mission doesn’t go to plan.

I wasn’t sure of the distinctively youthful cast, at first. But Cailee Spaeny, fresh from Alex Garland’s Civil War, steps into the archetype made famous by Sigourney Weaver, with ease. David Jonsson, as Andy, also does an impressive job as both the malfunctioning synthetic and an upgraded version later in the film. Hats off to the rest of the cast who also do a great job of selling the idea of a rebellious, if fated, crew of misfits.

The movie features all your favourite stages of the xenomorphic lifecycle. Lots of facehuggers, a chestburster and, of course, the aliens, themselves. The movie introduces a new stage in the lifecycle, a cocoon, both for the transition between the chestburster and the adult alien, as well as a dormant stage. We also get to see something similar to the hybrid aliens in Alien 3 and the engineers from Prometheus.

The movie manages to include callbacks to all the previous Alien movies, including the two most recent entries. For instance, the USCM pulse rifles as well as a surprise appearance harking back to the original Alien movie.

The gore is unrestrained, reminding me of the disturbing scenes that were the stock and trade of the direct-to-video sci-fi horror movies of the early ‘80s. The director exploits the opportunities for body horror presented by the alien xenomorphs to the max. The addition of a refined version of the alien liquid from Prometheus results in a gross-out sequence that could scar you for life. The movie more than doubles down on the facehuggers as the crew are chased through the station by a horde of the things, their gross finger-like appendages feeling their way through that gap in a door that absolute nightmare fuel.

The movie does rely on a few too many set pieces. Having the cast tasked with challenges like traversing through floating alien acid-blood in zero-G, quietly sneaking past facehuggers and having to hit all the levers makes it feel like a video game at times.

Overall, though, it is a proper Alien movie.

It may stick too close to the formula for some, but to be honest, that’s what makes it an Alien movie. You are not going to walk away with a greater understanding of the origins of humanity, but you will have a great time having jumped out of your skin a few times and been grossed out by some proper old-school body horror.

The post Alien: Romulus (20th Century – 2024) Review appeared first on Shane the Gamer.

When I first saw the marketing for Longlegs, it was love at first sight.

An artsy trailer about a murder mystery with heavy hints of the ‘ol satanic panic. The PR boxes with secret codes. The phone number with creepy messages.

Horror fans flocked to any glimpse of the film, namely – what Nicholas Cage would look like. My expectations were set high.

The movie follows Lee Harker – a young, detached FBI agent – tackling her first case. The case being to track down an occultist serial killer who goes by the name Longlegs.

The film spends a nice chunk of time setting up Lee and the case. As expected, it’s a murder mystery fanatics dream.

The mystery lies in how Longlegs could manipulate numerous fathers to murder their families and themselves.
With no evidence that a killer ever entered their homes, they could’ve been mistaken for murder-suicides. But then there’s the cryptic messages left at each scene. And the fact that each family had a daughter born on the 14th.

The unravelling of the mystery took on an interesting and somewhat erratic pace. Lee solves clues incredibly fast, due to the narrative aid of her psychic abilities.

The visual style and sound design were masterful, and carried a lot of the movie. With lingering shots – I would’ve raved about in film school – and harrowing flash cuts, I was engrossed.

The third act is when the movie started going downhill for me.

Instead of offering something fresh and gritty, the last half hour reduces the film to cliche and the over-used theme of a possessed doll.

Even worse, they completely disregard the main reason that Longlegs was never caught. Spoiler alert, there was someone in the house.

So much time had been spent setting up this creepy, odd-ball occultist killer, just to have the answers feel so subpar. Especially for avid horror fans who were expecting a little bit more pizazz.

Overall, I rate this movie pretty high, despite its narrative flaws.

Nicholas Cage gave a goofy yet eerie performance. The film was crafted beautifully and delivered a high level of suspense.

It was a fresh take on the genre, but was let down in the end by using cheap cliche. It just didn’t quite find its feet – or should I say legs?

But hey, at least the movie is split into parts so you can easily track where the movie started to go downhill.

The post Longlegs (Neon – 2024) Review appeared first on Shane the Gamer.