These are all the movies and series that Eric has reviewed. Read more at: The Movie Waffler.
Number of movie reviews: 2090 / 2090
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Like Charlotte Regan's Aftersun, in which a possibly suicidal father tries to keep it together while on holiday with his daughter, Molly Manning Walker's debut How to Have Sex similarly explores the horrors of enduring forced fun. Review
Like Martin Scorsese's Killers of the Flower Moon, The Land Within asks us to identify the wolves in the picture. But in Europe's conflicts, where the enemy in your rifle scope might look like your brother, and indeed sometimes actually is a family member, such distinctions aren't always so easy to make. Review
With his melancholy hang-dog features and a face that almost seems like it would melt if he cried, Whitaker was born to play this character. Review
Warhol is an odd mix of strong and weak performances, and of subplots that are either left ambiguous or have their message rammed down the viewer's throat. Its slick visuals and Johnson's magnetic performance are its key selling points, but elsewhere it's a rough around the edges piece of filmmaking of the most annoyingly didactic kind. Review
Pett Kata Shaw isn't remarkable enough to stand among the classics of the horror anthology sub-genre, but it's a rare case of a portmanteau film where every segment works to some degree. Review
Hutcherson is an amiable presence and his chemistry with Rubio is very cute. Masterson is having fun chewing scenery as a live action Disney villain, and the subplot around her attempts to prise Abby away from Mike is the film's strongest aspect. But is anyone watching a Five Nights at Freddy's movie to see a custody drama? Review
Palimpsest certainly has an interesting premise but it never quite figures out what it's trying to say. Review
But watching The Carmichael Manor at home alone on a stormy night with the wind whistling down my chimney and the front door creaking, well, congrats Cognetti...you got me. Review
What makes Parachute stand out from similar narratives is that rather than posing the question of whether two people who clearly love one another will get together, it asks whether they should get together. Review
This film is all about its human characters, and how wonderfully human they are. Review
We're left to wish we could see the unmade film that exists between the two images. Review
Paradise is Burning is a nostalgic treat for anyone who fondly recalls the childhood joy of breaking adult rules. Review
Both approaches are interesting in their own right, though the Danish version will likely prove the more relatable for female viewers of Anne's vintage. Review
Even for an atheist like myself Pandemonium is a deeply upsetting watch. While it's one of the most thematically dark films I've seen in some time, Pandemonium also boasts humour of the blackest kind. Review
On a technical level The Wait is an impressive undertaking all round. The acting, especially by Clavijo, is beguiling, and GutiƩrrez and cinematographer Miguel A. Mora make great use of the lonely expanse of the Andalusian countryside to cement their protagonist's emotional and physical isolation. But it's mostly hitting beats we've seen before in countless segments of horror anthologies... Review
A few more passes at the script might have consolidated Alone Together into a more convincing supernatural thriller, but in its current form it's a frustrating misfire. Review
Said monster is an impressive creation, either stop-motion or a convincing digital approximation of such. But it's also a little too goofy for a movie that takes itself as seriously as The Deep Dark, and would look more at home if it was battling Bruce Campbell rather than a group of acclaimed French thespians. Review
For a film that sets up so many possibilities as to why Alice has found herself in this scenario, the ending here feels almost insulting to the viewer's investment over the previous 90 minutes. Review
You may find yourself mouthing the words "well, that's weird" at regular intervals throughout My Mother's Eyes, but there isn't much food for thought. Review
By the end you're not entirely sure what you've just watched, but you know it was a movie that was both unique in its vision while betrothed to genre fare of the past. Review
The whole thing feels like an obligatory effort to wring some more money out of a dying franchise, and it's only the occasional clever cenobite design that offers anything new of note to the film. Review
With some striking cinematography by Gerry Lively and the sort of inventive production design the series had become known for at this point, Hellraiser III is a reminder of how great mainstream horror movies looked before the blandness of Scream and its teen horror clones took over in the second half of the '90s. Review
While it's never remotely as gripping as its predecessor, Hellbound captivates as a relic of a time when special effects artists were rock stars in the pages of Fangoria, and it makes today's mainstream horrors of the Waniverse and Blumhouse stable seem entirely devoid of imagination by comparison. Review
For the most part, Hellraiser is a gritty, kitchen sink thriller with a very British aesthetic. Review
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