Stanley Kubrick's The Shining is less an adaptation of Stephen King's best-selling horror novel than a complete re-imagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's film is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook Hotel mirror the emptiness in the soul of the blocked writer settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him-all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demand s for take after take after take. ) The Shining is terrifying-but not in the way fans of the novel might expect. When it was redone as a TV mini-series (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there-but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide. [+]

Stunning computer-generated special effects are the main selling point of Dragon Wars, a Korean-made fantasy about ancient monsters wreaking havoc in modern Los Angeles. The complex plot, based on legend, pits an evil serpent and its demonic army against a young woman (Amanda Brooks) who is the reincarnation of a young woman imbued with the heaven-sent power to transform the creature into an all-powerful dragon. Jason Behr (The Grudge) is the reporter who discovers that he too is a reincarnated warrior bound to prevent Brooks and her power from falling into the wrong hands. The elaborate premise isn't helped by the script, which delivers absurd dialogue and situations with child-like naivete. Thankfully, the presence of Robert Forster (as another reincarnated hero) and solid actors like Elizabeth Pena, Craig Robinson and Chris Mulkey, help smooth over the frequent moments of unintentional humour. But this won't matter much to fantasy fans and (especially) younger viewers, who will tune in for the film's riot of special effects. Director Shim Hyung-rae and his talented team offer scene after scene of exceptional CGI creations, most notably an aerial dogfight between helicopters and winged lizards in the skies above downtown L. A. , and a climactic battle which makes good on the title's promise. The DVD includes a making-of featurette which outlines Shim's four-year struggle to complete the project, as well as storyboard galleries and an animatics display. [+]

The dizzying supernatural Russian epic started in Night Watch continues with Day Watch, in which once again the battle between the forces of Light (the Night Watch) and Dark (the Day Watch) threatens to crack open the world as we know it. The plot centers around Anton (Russian superstar Konstantin Khabensky), an Other (one of many beings with varied supernatural powers) whose son, Yegor, has joined the Day Watch, who are grooming him to be their superpowerful savior. Anton's protégé, Svetlana, also has high-capacity power, and if Yegor and Svetlana come into conflict, the resulting devastation could shatter everything. The key to success seems to lie with the Chalk of Fate, a simple piece of chalk that can rewrite reality. Day Watch is full of plotholes and underdeveloped story points (at one point, to keep him safe, Anton's consciousness is switched into the body of his Night Watch colleague Olga-but mere moments later the Day Watch knows what's happened, before any suspense could be mined from it; as a result, this promising plot twist seems only to exist to allow for some girl-on-girl action), but it's forgivable. As with the first film, Day Watch bubbles over with its wildly imaginative world, its ravishing style, and its fantastic visual effects. If a Hollywood blockbuster had half as much creativity, it would be praised to the skies and be the hit of the year. Don't let the subtitles put you off (particularly since even the subtitles reflect the movie's wit and imagination)-Day Watch is a cinematic feast that any movie fan should devour. -Bret Fetzer.

As Guillermo Del Toro films go The Devil's Backbone is a defining moment in his career, breaching the gap between International Art House and mainstream Hollywood success, it being his last film before Blade 2. Based within an orphanage during the Spanish Civil War of the 1930s, the film is driven by its characters and, just like his previous films (Cronos and Mimic), it draws on the supernatural to outline and re-define exactly what it is that drives them. Although Del Toro insists that this is not a film about the Civil War, by trapping and threatening its inhabitants the orphanage inevitably becomes a mirror for the events outside. These four walls become a place of protection for boys who have been orphaned during the war, a place for them to lead a relatively normal existence full of school life, bullying and adventure. Their main source of the latter being Santi, a young ghost who haunts the halls looking for revenge for his recent murder. Yet the pivotal character who evokes real fear in the children is not the spirit, but the greedy, selfish Jacinto (Eduardo Noriega), a former orphan, whose experiences have left him with deep emotional scars. With a strong cast and even stronger imagery (created by cinematographer Guillermo Navarro) Del Toro whips up a hauntingly effective film about love, life and the afterlife. On the DVD: entering the extras literally through the keyhole, there are several opportunities to obtain a deeper understanding of this disturbing film. A "Behind the Scenes" featurette includes the cast's own character profiles and interpretation of the story, as well as Del Toro explaining his thoughts about the film and how he achieved some shots. Two of the sequences—"Aerial Bombardment" and "The Ghost"-can be seen in further technical detail, with film footage and computer animation combined to make a whole scene. [+]

Watching Zodiac with Se7en and Fight Club in mind might disappoint those expecting a typical David Fincher movie, but his exploration of a serial killer's reign across 70s San Francisco is highly rewarding, provided you're willing to put in the (2 and a half) hours. The Zodiac killer submitted citizens of California to everything from fear to mild bemusement for the better part of a decade with his media-baiting ciphers and acts of terrible violence. Meanwhile reporters, police and an obsessed cartoonist named Robert Graysmith spent those years trying and ultimately failing to put a face to the name. Fincher's own fascination with the case really comes across here, and while he doesn't shrink from the horror of the murders, this is his most traditional, but most accomplished feat of storytelling to date. The pin sharp dialogue and perfectly paced story is accompanied by a first rate cast - most notably Robert Downey Jnr's hack Paul Avery and Mark Ruffalo's dogged homicide detective David Toschi. The story veers away swiftly from standard serial killer fare to intense procedural, focussing on the obsession of the men trying to stop Zodiac. And the real accomplishment here is that audiences will feel their regret, because to this day, the killer has never been caught. Despite this and the intimidating running time, those with the patience will be rewarded with one of the best crime thrillers in years. -Luke Mawson.

One of the first things a viewer notices about Cloverfield is that it doesn't play by ordinary storytelling rules, making this intriguing horror film as much a novelty as an event. Told from the vertiginous point-of-view of a camcorder-wielding group of friends, Cloverfield begins like a primetime television soap opera about young Manhattanites coping with changes in their personal lives. Rob (Michael Stahl-David) is leaving New York to take an executive job at a company in Japan. At his goodbye party in a crowded loft, Rob's brother Jason (Mike Vogel) hands a camcorder to best friend Hud (T. J. Miller), who proceeds to tape the proceedings over old footage of Rob's ex-girlfriend, Beth (Odette Yustman)-images shot during happy times in that now-defunct relationship. Naturally, Beth shows up at the party with a new beau, bumming Rob out completely. Just before one's eyes glaze over from all this heartbreaking stuff (captured by Hud, who's something of a doofus, in laughably shaky camerawork), the unexpected happens: New York is suddenly under attack from a Godzilla-like monster stomping through midtown and destroying everything and everybody in sight. Rob and company hit the streets, but rather than run with other evacuees, they head toward the center of the storm so that Rob can rescue an injured Beth. There are casualties along the way, but the journey into fear is fascinating and immediate if emotionally remote-a consequence of seeing these proceedings through the singular, subjective perspective of a camcorder and of a story that intentionally leaves major questions unanswered: Who or what is this monster? Where did it come from? The lack of a backstory, and spare views of the marauding creature, are clever ways by producer J. [+]

Is there anything scarier than clowns? Of course not. And who knows scary better than Stephen King? You see where we're going. It puts a malevolent clown (given demented life by a powdered, red-nosed Tim Curry) front and center, as King's fat novel gets the TV-movie treatment. Even at three hours plus, the action is condensed, but an engaging Stand by Me vibe prevails for much of the running time. The seven main characters, as adolescents, conquered a force of pure evil in their Maine hometown. Now, the cackling Pennywise is back, and they must come home to fight him-or, should we say, It-again. Admitting the TV-movie trappings and sometimes hysterical performances, this is a genuinely gripping thriller. As so often with King, the basic idea (the bond formed during a childhood trauma) is clean and powerful, a lifeline anchored in reality that leads us to the supernatural. -Robert Horton.

The lower-profile half of the Grindhouse double bill that flopped at the US box office in early 2007, Robert Rodriguez's Planet Terror comes with lesser expectations. However, don't let that fool you: this is a fun, pacey zombie film, that displays less self-indulgence than Tarantino's Death Proof, and doesn't skimp in the entertainment stakes either. The plot is thin and quickly covered, but basically amounts to the release of a gas that creates lots of zombies. Stuck in the midst of the zombies is a small bunch of people who try and fight them off (among, er, other things). It doesn't, fortunately, take long for Planet Terror to set all this up, and the stage is soon set for what we all paid our money for. Action. Violence. Characters of ill-repute. And, heck, a bit more action too. Thus, Rodriguez delivers his tribute to the grindhouse movies he's clearly inspired by, and Planet Terror proves to be a fine piece of work. [+]

An enjoyable low-concept monster movie, Dog Soldiers is basically Night of the Living Dead with werewolves. A platoon on a training exercise in Scotland, already fed up because they are missing a vital England-Germany match, come across the wounded survivor of a special ops team (Liam Cunningham) that has been attacked by monsters. There's a confused conspiracy angle, with a scheme to sacrifice the squaddies in order to capture a werewolf for military uses, but it's mostly a lost patrol picture with the soldiers besieged in a mysteriously abandoned house in the woods, complete with "pork" stew on the boil. The hardman sergeant (Sean Pertwee) is disembowelled early but gruesomely patched up with superglue, letting the sensitive Scot (Kevin McKidd) play hero. A pack of effectively glimpsed Howling-style bipedal werewolves make repeated attacks on the house, whittling the cast down with each invasion. The soldier characterisations are solid cliché, albeit of a British variety rarely seen in horror movies (a highlight of the use of Brit slang is the Geordie shouting "Come on if you think you're hard enough"). The monsters are okay, but writer-director Neil Marshall's strongest suit is his third, as editor, covering for the old-fashioned monster suit effects and making the suspense and action mechanics work. On the DVD: Dog Soldiers is an excellent DVD package complete with two commentary tracks, a British one with Marshall and the cast and an American one with a couple of producers. Both are interesting and rarely overlap, and there's an amusing contradiction between the Brits who rush over script changes they didn't want to make and the Yanks who imposed a sub-plot they feel saved the picture. Also, a bunch of trailers that amusingly spoof a recent army recruitment ad, deleted scenes and outtakes with optional Marshall commentary, a standard making-of featurette, storyboards and Marshall's short film, Combat. [+]

Viewed objectively, sheep aren't all that scary. They're actually quite cute and fluffy. But Black Sheep achieves the almost impossible by making you believe, at least for 90 minutes, that they could really turn into unstoppable killing machines. When a sheep-phobic ends up back on his family's farm to discuss his father's estate with his tyrannical brother, a pair of bumbling eco-warriors accidentally unleashes his worst nightmare-a flock of mutated sheep, hungry for human flesh. Pitched perfectly between horror and comedy, Black Sheep fits neatly into the tradition of genre classics like Shaun of the Dead and American Werewolf in London. It's funny without either being cruel or becoming tediously post-modern, scary without being sadistic. New Zealand's rolling green hills make a stunning and rather incongruous backdrop for the bloodbath-and the prosthetics and special effects look fantastic, packing a visceral punch that CGI could never hope to match. Director Jonathan King paces the laughs and scares expertly; there's not a minute wasted in Black Sheep's runtime, and not a minute that isn't ridiculously enjoyable. Who'd have thought zombie sheep could be so much fun? -Sarah Dobbs.

Resident Evil Given that Resident Evil is a Paul Anderson movie based on a computer game which was itself highly derivative (especially of George A Romero and James Cameron films), it's probably unfair to complain that it hasn't got an original idea or moment in its entire running time. In the early 1980s, Italian schlock films such as Zombie Flesh Eaters and Zombie Creeping Flesh tried to cram in as many moments restaged from American originals as possible, strung together by silly characters wandering between monster attacks. This is a much-improved, edited, photographed and directed version of the same gambit. As amnesiac Milla Jovovich remembers amazing kung fu skills and anti-globalist Eric Mabius mutters about evil corporations, a gang of clichéd soldiers with nary a distinguishing feature between them (except for Michelle Rodriguez as a secondary tough chick) are trapped in an underground scientific compound at the mercy of a tyrannical computer-which manifests as a smug little-girl-o-gram-fending off flesh-eating zombies (though gore fans will be disappointed by the film's need to stay within the limits of the 15 certificate) and CGI mutants, not to mention the ever-popular zombie dogs. It's tolerably action-packed, but zips past its borrowings (Aliens, Cube, Deep Blue Sea) without adding anything that future schlock pictures will want to imitate. Resident Evil 2 - Apocalypse 2002's popular video-game-derived hit Resident Evil didn't inspire confidence in a sequel, but Resident Evil: Apocalypse defies odds and surpasses expectations. It's a bigger, better, action-packed zombie thriller, and this time Milla Jovovich (as the first film's no-nonsense heroine) is joined by more characters from the popular Capcom video games, including Jill Valentine (played by British hottie Sienna Guillory) and Carlos Olivera (Oded Fehr, from 1999's The Mummy). They're armed and ready for a high-calibre encounter with devil dogs, mutant "Lickers," lurching zombies, and the leather-clad monster known only as Nemesis, unleashed by the nefarious Umbrella Corporation responsible for creating the cannibalistic undead horde. Having gained valuable experience as a respected second-unit director on high-profile films like Gladiator and The Bourne Identity, director Alexander Witt elevates this junky material to the level of slick, schlocky entertainment. -Jeff Shannon Resident Evil 3 - Extinction Movies based on computer games generally aren't well respected, but just because they aren't high art doesn't mean they can't be highly enjoyable. [+]

It's been a long time coming, but at last the digitally remastered version of the original 1982 horror movie has arrived. Tobe Hooper, the director of The Texas Chainsaw Massacre, teamed up with family-oriented producer Steven Spielberg to make Poltergeist, about a haunted suburban home in a development very much like the Arizona one in which Spielberg was raised. (Because it came out the same summer as Spielberg's E. T. , it was tempting to see both movies as representing Spielberg's ambivalent feelings about childhood in suburbia. One was a fantasy, the other a nightmare. ) Spielberg also co-wrote the screenplay, which taps into primal, childlike fears of monsters under the bed, monsters in the closet, sinister clown faces, and all manner of things that go bump in the night. At first, some of the odd happenings in the house are kind of funny and amusing, but they grow gradually creepier until the film climaxes in a terrifying special-effects extravaganza when five-year-old Carole Anne (Heather O'Rourke) is kidnapped by the spooks and held hostage in another dimension. Though not nearly as frightening as Hooper's magnum opus, or the original A Nightmare on Elm Street, which came along two years later, Poltergeist is one of the smartest and most entertaining horror pictures of its time. -Jim Emerson.