Set in the Scottish highlands, the inexpressibly splendid Dog Soldiers proves three things:
1. Despite recent Hollywood attempts to bury the genre, the werewolf movie ain’t dead.
2. A talented filmmaker can do true wonders with very little.
3. There is no movie that Sean Pertwee doesn’t automatically make better. (See also: Ian Holm and Liam Cunningham, who is also in Dog Soldiers — doubleplusgood!)

Sgt. Wells (Pertwee), alongside the resourceful Cooper (Trainspotting’s Kevin McKidd, also fantastic), leads a regiment of ragtag soldiers on a routine training exercise (“I expect nothing less than gratuitous violence from the lot of you!”). Before long, they find themselves to be pawns in a Special Ops scheme to capture an actual werewolf, and have to hole up in a farmhouse to fend off a very hungry, very determined, well-nigh unstoppable family of lycanthropes.

In his directorial debut, Neil Marshall (The Descent) makes the most of a negligible budget to deliver a breathless horror movie along the lines of Aliens meets The Howling. It is very likely the best thing to ever appear on the then-called Sci-Fi Channel, including the 2004 Battlestar Galactica series. The casting is top-notch, Marshall keeps the tension high, and the monsters (beautiful practical effects, no CGI American Werewolf in Paris garbage here) are kept dimly lit, disguising their limitations and becoming genuinely eerie.

Combined with a tight script chock full of offbeat allusions to Star Trek II and The Matrix (among others), the end result is an endlessly entertaining slam-bang horror actioneer, and the best werewolf movie in a dog’s age. Bonus marks: During a scene of meatball surgery, Pertwee screams “Sausages!” at the sight of his own entrails. Just. Freaking. Perfect. —Corey Redekop

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If you have a hard-on for the works of Mario Bava and Dario Argento, you’ll love Amer, a quasi-anthology French film that pays tribute to those Italian masters. While the giallo celebration’s title translates to “bitter,” Amer is oh-so-sweet, a thrilling debut from filmmakers Hélenè Cattet and Bruno Forzani. Does it hurt that it contains the best visual representation of an orgasm I’ve ever seen? Aucun.

The movie is comprised of three chapters in the life of Ana, first as an only child (Cassandra Forêt) who lives in a lakeside mansion with her parents and an elderly housekeeper they suspect of being a witch. Told with an array of eyeballs and keyholes in extreme close-ups, it’s the most overtly horror portion, imparting a strong, unsettling vibe reminiscent of the “Drop of Water” segment from Bava’s Black Sabbath.

The middle (and shortest) part of Amer finds Ana as an adolescent (Charlotte Eugène Guibbaud) with bee-stung lips and a budding sexuality that threatens to turn into danger, as she accompanies her mother (Bianca Maria D’Amato) on a walk into the dizzying, labyrinthian cobblestone streets of the nearby village. By the final tale, Ana is a full-blown gorgeous woman (Marie Bos) returning to her childhood home now abandoned and in disrepair … and complete with one of those black-gloved, razor-wielding psychos on the grounds.

If the music score sounds spot-on, it should, sporting ’70s cuts from Ennio Morricone, Bruno Nicolai and Stelvio Cipriani, putting it squarely at the head of the class of giallo grad school. Amer may baffle those whose viewing habits don’t cross oceans, but I found it absolutely absorbing and fascinating — the art film at its most accessible. Take a stab at it. —Rod Lott

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Third time’s the harm — again — with Paranormal Activity 3, another prequel to a prequel. (In real math, then, this is Paranormal Activity Negative 2.) Rather than pick up where 2 left off, franchise-fresh directors Henry Joost and Ariel Schulman (Catfish) have turned back the clock to tell the heretofore hinted-at story of that thing that happened that one time to sisters Katie and Kristi when they were little. Holy shit, girls, do you remember that?

Lemme take you there: It was the ’80s. Your mom, Julie (Lauren Bittner) had big hair, a secret stash of pot and a new husband who looked like a douche because he never shaved. His name was Dennis (Christopher Nicholas Smith) and he made wedding videos for a living, so it was only a matter of time before he tried to bang your mom on tape. On VHS, even. Classy.

And you two started complaining about weird things happening, and Dennis set up a couple of totally sweet camcorders ’round the house to see what was what. (Even I gotta admit, rigging the cam on the oscillating fan’s base was ingenious.) And boy, did his DIY spirit pay off! The house had its own invisible demon — Toby, his name was, and he didn’t like to be called fat — who moved objects askew and had this cool trick he liked to do where people would fly across the room like puppets who suddenly had their strings yanked.

The same description could apply to viewers, who lap these Paranormal movies up. For all their simplicity, however … well, dammit, I really admire their simplicity! Whereas so many studios spend millions on special effects, Joost and Schulman literally freak us out with a bed sheet. A bed sheet.

Also, I just find Katie Featherston to be crazy hot. That is all. —Rod Lott

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It takes a good half-hour of Liv Tyler and Scott Speedman moping around and listening to Joanna Newsom on vinyl, but once it gets going, The Strangers offers a pretty suspenseful section of 45 minutes I wouldn’t want to watch in the dark while home alone late at night. The final 15, however — let’s just say debuting writer/director Bryan Bertino never should have let his story see the literal light of day.

Tyler and Speedman play a couple who, following a wedding reception at which she turned him down on his proposal, retreat all weepy to his dad’s vacation home for the night. Soon after drowning their individual sorrows in rusty bathwater and Blue Bell ice cream, there’s a knock at the door at an ungodly hour, with a young blonde asking for someone who isn’t there.

The inconvenience is merely step one of a trio’s ace home-invasion plan. This assault on precinct pretty-boy is made unnerving because the three perpetrators each sport a different mask; according to the credits, their names are Dollface, Pin-up Girl and Man in the Mask. That latter moniker doesn’t do him justice, as he wears a burlap sack with eyeholes and a painted smile. (Pin-up Girl’s facial disguise is particularly creepy; just ask my kids since I was sent one with the review copy. Yes, I am a horrible parent, but I cannot resist a laugh at their piss-their-pants expense.)

If illogical — they seemingly vanish via teleportation — their reign of terror is effective, like Michael Myers’ pursuit of Jamie Lee Curtis in the closet drawn out to feature length. The Strangers is neither brilliant nor groundbreaking, but works for more than half the time, which makes it worthy viewing. Reportedly based on true events, Bertino’s version is a tad better than the 2006 French film Them, which is so similar, I can’t see how The Strangers gets away without being credited as a remake. —Rod Lott

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“Oh, this can’t be scary. Old movies aren’t scary like Insidious,” said my tween daughter as she entered the room just after the opening credits of Tourist Trap had finished. One minute and one mannequin appearance later, she bolted for the door.

I wouldn’t qualify Tourist Trap as scary, but several moments of it are extra-creepy and genuinely unsettling. Mannequins and dolls that suddenly, inexplicably move tend to be. This film’s killer even wears a mask that covers all but his lower jaw, which is also unnerving, especially since it makes him look like Leatherface (albeit the transvestite one from Texas Chainsaw Massacre: The Next Generation).

The titular site refers to Slausen’s Lost Oasis, an off-the-beaten path, now-closed-to-the-public wax museum owned by the lonely widowed Mr. Slausen (The Rifleman‘s Chuck Connors, giving it his square-jawed all). A group of vacationing youngsters (including Tanya Roberts in a tube top) end up there after an irreparable tire strands them. Bet you know what happens from there. (And in case you don’t, then welcome to your first horror movie, and know that they’re terrorized by those things that department stores use to sell you the latest fashions.)

Directed by David Schmoeller (The Seduction, Puppet Master), this decent, semi-novel, inexplicably-PG supernatural slasher comes from the era when Charles Band productions not only didn’t suck, but actually played theaters. If you can remember those golden days of Ghoulies and Troll and this, congrats! You’re old. (Meet you for dinner at Furr’s at 4.) —Rod Lott

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