The Innkeeper's Safe House is being attacked by a Goon.

The Yankee Pedlar Inn is keeping its doors open for one final weekend as the hotel is soon to be closed down due to poor trade (because of the economy, I guess). There are very few guests staying at the hotel thus presenting the two staff members, Claire and Luke (Sara Paxton and Pat Healy), the opportunity to discover whether the hotel’s ghost stories are true. Ti West’s previous effort before The Innkeepers was the brilliantly tense House of the Devil which worked exceptionally well due the sustained tension throughout and the menacing use of suggestion concerning the horror upstairs. The Innkeepers is similar to The House of the Devil in the sense that it is a slow burning chiller that relies on suggestion and tension rather than actual scares; however it’s not quite on the same level as The House of the Devil. That’s not to say there are no generally good jolts in The Innkeepers, but the moments leading up to the scare are the ones that payoff most successfully. Boosting likeable and engaging central characters The Innkeepers treads along at a slow pace, which some may find frustrating, but others admiring the creepy almost The Shining like elements. The film becomes slightly unstuck as the central characters’ actions become more and more absurd as the film steps further in the conventions of the genre, but Ti West’s film works well as an enjoyable character study (the two central actors share a good chemistry) as well as creepily effective supernatural chiller. Ti West leaves plenty of unanswered questions in the narrative, but makes up for these issues by raising a decent level of sustained tension.

3/5

J Edgar

Since his first directorial effort Play Misty For Me Clint Eastwood has had a successful career behind the camera (he won the Best Director Oscar for Unforgiven). Eastwood also made a name for himself playing iconic characters such as Harry Callahan; so the recognition in both directing and acting Eastwood has received makes it difficult to decide whether he was better behind or in front of the camera.

Prometheus

Might be some plot spoilers. People's opinions on plot spoilers differs. 

Ridley Scott’s second feature film Alien still remains, after thirty years, one of the greatest horror/science fiction movies ever made, it is the essential haunted house story in which there is no escape from the monster lurking about the tight, claustrophobic hallways. Thirty years on Alien was followed by three sequels, two spin off series (Predator and Alien vs. Predator) and finally Prometheus which Scott claims is not a prequel, but the film is still set in the Aliens franchise’s universe.

Moonrise Kingdom and Iron Sky

Wes Anderson’s Moonrise Kingdom opened up the Cannes Film Festival leaving many critics delighted with many applauding the quality of the film. After his last animated effort (Fantastic Mr Fox) Anderson returns to where he started dealing with younger rebellious characters in love (though in Rushmore the younger character falls in love with an older character). Known for creative and idiosyncratic talents much of Anderson visual talents are on display in his latest work Moonrise Kingdom.

The Grey and Haywire.

Apparently The Grey saw a lot of walkouts due to the fact that the trailer misrepresented the film making it seem as though it was an action thriller in which Liam Neeson calls a wolf a ‘motherfucker’ and punches it in the face. Whether the misleading trailer or the impatience of some modern cinemagoers is to blame for these walkouts is debatable, but after seeing the film it becomes clear that the trailer is nothing like the actual finished product.

The Descendants.

Best known for his satirical depiction of modern America Alexander Payne returns after seven years since he directed his last film (Sideways) with The Descendants, a touching and poignant film based on the novel, of the same name, by Hawaii resident Kaui Hart Hemmings. It may lack the satirical and comic elements of his previous films, but The Descendants went on to become a Box Office success as well as being nominated for Best Picture Oscar and winning one in the Best Adapted Screenplay category. 

Spartacus

Spartacus came about because Kirk Douglas got a tad stroppy at the fact he lost the leading role in the 1959 epic Benhur to Charlton Heston. Spartacus was designed to be just as epic as the 1959 Best Picture winner, and thus when original director Antony Mann was sacked because he did not meet Douglas’ epic vision Douglas hired Stanley Kubrick to replace Mann in directorial duties. At this time it is clear that Douglas’ ego was as big and epic as the film itself.