Christopher Schobert

Perhaps months or even years from now, it will be easier to disassociate the film from the real-world details that influenced its creation and give it a second look. In the present, though, In the Earth feels like a project designed to stave up boredom. Perhaps it did, for Wheatley and his crew. For everyone else, the memories of watching will be quickly buried.

It is Nicholas Hoult, and Nicholas Hoult only, who keeps one watching. Even here he commands the screen, and shows himself able to carry a film. Next time, perhaps it will be a good one, and not one with such a needlessly tired message.

Basmati Blues is an inoffensive trifle. It does not warrant outrage; it’s not bold enough to risk it. Yet there is some heart, and undoubtedly, some ambition.

The Bag Man is, in final analysis, truly disheartening.

Terminal is destined to be forgotten. However, if the cast, the look, and the wacky storyline intrigue, it might be worth a viewing. While it’s far from the so-bad-its-good category, the few oddities contained within may delight a few curious audience members.

What is perhaps most surprising is that the film’s first hour, the non-horror section, is far more compelling than the second, an extended, nonsensical haunted hotel sequence that never scares, intrigues, or surprises.