FiftyTwo52

Watching The Conjuring for the first time, I expected a film that would justify its reputation as one of the modern greats of horror. Instead, it felt like a very polished but ultimately familiar haunted-house movie.

Almost nothing happens in the first 1 hour (3/10) and then the last 30 min are worth the watch (7/10). The setup is straight out of the genre handbook: a family moves into an old farmhouse, strange noises build into violent hauntings, and paranormal experts arrive to confront the evil.

The scares rely heavily on jump tactics-doors slamming, shadows flickering, children gasping in terror. It's effective in the moment, but not the kind of dread that lingers once the credits roll. James Wan's direction is stylish, with smart use of shadow and period detail, yet the film rarely strays from safe territory.

Patrick Wilson gives a steady but one-note performance as Ed Warren, while Vera Farmiga does the heavy lifting, her quiet intensity giving the film its only real edge of authenticity. Lili Taylor commits fully to the possession arc, but it often drifts into overacting. The Perron family as a whole feels thinly written, so the stakes never quite land as they should.

As the start of a sprawling franchise, The Conjuring is significant. As a first-time viewing, though, it's average horror with more reputation than impact.

James DeMonaco's The Home is a horror film that starts as a creeping dread-fest and ends as a full-throttle, blood-soaked thriller.

Pete Davidson, in a role that will surprise his detractors, plays Max, a graffiti artist working off a sentence in a retirement home that's far from ordinary. The first half is deliberate, almost too slow, but it effectively sets the stage for the film's unhinged second act.

Davidson, often typecast as the class clown, proves he can carry a darker role. His Max is a mix of vulnerability and simmering rage, and the actor sells both the quiet moments and the eventual descent into madness. The supporting cast, especially John Glover and Bruce Altman, add layers of mystery and menace, though some characters feel more like plot devices than real people.

The real strength of The Home is its final act. Just as the film risks losing its grip, it explodes into a series of revelations and violent confrontations that are as shocking as they are satisfying. The gore is plentiful, the twists are genuinely surprising, and the finale is bonkers in the best way.

Verdict: The Home is a 7/10 - a flawed but fun horror ride that exceeds expectations, especially if you stick with it through the slow setup. It's not a masterpiece, but it's a solid, watchable thriller with a finale that's worth the price of admission.

No Entry is Bollywood comedy at its finest... a perfect blend of slapstick humor, witty one-liners, and outrageous situations.

The film follows a group of husbands and wives entangled in a web of lies, infidelity, and mistaken identities, leading to a chaotic yet hilarious climax.

Anil Kapoor, Salman Khan, and Fardeen Khan are in top form, each bringing their unique comedic styles to the table. Anil's desperation, Salman's flirtatious charm, and Fardeen's confused loyalty create a dynamic trio that keeps the laughs coming. Bipasha Basu adds to the fun, while Esha Deol and Lara Dutta round out the ensemble with their own comedic moments.

Anees Bazmee's direction is sharp and fast-paced, ensuring the jokes land perfectly. The film's dialogues are iconic, and the situations are so absurd that you can't help but laugh. The music, especially the title track, adds to the film's energetic vibe.

While the plot is predictable and over-the-top, the film never takes itself seriously, making it a guilty pleasure for comedy lovers. If you enjoy lighthearted, laugh-out-loud Bollywood comedies, No Entry is a must-watch. 8/10 - pure fun from start to finish!