John Hansen

Final Destination 2

‘Final Destination 2’ (2003) a massive pileup of silliness

‘Final Destination’ Week (Movie review): Death jerks around more people in a sequel that can’t decide if it wants to be serious or not.

Final Destination

Wong, Morgan get their hit with ‘Final Destination’ (2000)

‘Final Destination’ Week (Movie review): Glen Morgan and James Wong, known for their TV work, find film success with this “X-Files”-esque tale.

Halloween Party

‘Hallowe’en Party’ (1969) can’t capture spirit of season

Sleuthing Sunday (Book review): Although it doesn’t have the spooky vibe I hoped for, there are things to like about this Poirot novel.

Scary Movie 4

‘Scary Movie 4’ (2006) cruises into disaster-horror mashup

‘Scary Movie’ Week (Review): The fourth entry in the “trilogy” drifts from its roots by targeting disaster-movie clichés.

Scary Movie 3

Zucker brings old-school flavor to ‘Scary Movie 3’ (2003)

‘Scary Movie’ Week (Review): Parody veterans Zucker and Proft bring a goofier flavor as they take the reins from the Wayans Brothers.

Shadows and Fog

Point of ‘Shadows and Fog’ (1991) gets lost in the mist

Woody Wednesday (Movie review): The closest to a horror film in Allen’s catalog is not scary. In fact, it doesn’t have much of a mood or point at all.

Candyman 4

4th ‘Candyman’s’ horror vibe lost in worthwhile message

Movie review: Even by the standards of genre sequels, the “Candyman” sequels struggle to expand on the original’s statement. “C4” tries, at least.

Scary Movie 2

‘Scary Movie 2’ (2001) goes for bigger gross-outs, grosses

‘Scary Movie’ Week (Review): Anna Faris and the Wayans Brothers decide to make a sequel after all, this time targeting ghost flicks.

Halloween Kills

‘Halloween Kills’ riffs on ‘later that night’ scares

Movie review: The second chapter of the “H40” trilogy has good continuity and a fresh angle, but it doesn’t do much to develop characters.

‘Scary Movie’ (2000) makes a funny spoof out of a parody

‘Scary Movie’ Week (Review): “Scary Movie” is a hilarious spoof of the slasher boom, but the big takeaway is the breakthrough turn by Anna Faris.