Evil Dead Burn (2026)

The critic welcomes the film as a grisly new chapter that delivers everything Evil Dead fans could want and need. It singles out DP Philip Lozano’s restless, canted camerawork and the inventive use of domestic weapons for praise.

The critic calls it a personal if literal-minded schlockfest that is relentlessly cruel and makes prior entries seem like Sunday school. It praises Vaniček’s scare-making and inventiveness in bloodletting but complains that the meditation on gendered abuse feels uncomfortably literal-minded.

The film is an effective piece of gross-out guignol that keeps the evil dead spirit alive through thematic, nonstop violence rooted in family rancor. It praises the practical effects, strong performances especially from the supporting cast, and the shift to darker family drama over comedy.

The film goes harder on gore and family drama than prior entries but still feels overshadowed by Sam Raimi's originals, with clever technical flourishes amid the violence.

The critic finds the film a disappointing addition undermined by clumsy pacing, a heavy-handed abuse narrative and lack of the director’s distinctive vision. It singles out the exhausting and insincere handling of generational trauma and domestic violence for complaint.

The critic describes a relentless onslaught of horror set pieces that can become numbing at times. It singles out the inventive staging of the many violent, blood-soaked sequences and franchise lore nods for praise.

The critic finds the film a misfit entry that struggles to balance domestic violence themes with undead chaos, losing the Evil Dead spirit of guilt-free fun. It praises the dynamic camera moves and stylish tricks but complains that the somber tone and literal approach interrupt the rollercoaster horror.

The latest Evil Dead installment unleashes nasty thrills in bursts but never feels fully in control of its chaos, delivering inventive violence mainly in contained set pieces. It singles out the grim family dynamics and contained face-offs for praise while noting the director falls short of the previous reboot.

Evil Dead Burn offers slick but diminishing returns as extreme horror that finds glee in destruction, pushing R-rating boundaries with gory set pieces. It complains about the muddy gray palette, show-offy and ill-considered gore, and narrative impatience while noting the loopy grandma scene as a highlight.

The critic concludes that the film has lots of gore but little substance and makes less of an impact than its predecessors. It singles out the inventively schlocky setpieces and strong central performance from Souheila Yacoub for praise.

The film is remarkably dumb and for completists only, with some clever set pieces undermined by incompetent filmmaking like flat visuals and clunky editing. It praises the inventive car sequence as a standout but criticizes the relentless cruelty and lack of personality.

This spin-off drains all the fun from the franchise, delivering a bleak, plodding parade of slaughter focused on familial dysfunction instead of Raimi-style splatter-punk energy.

The film turns the franchise into an ill-advised issues-based drama about domestic abuse and toxic masculinity, devoting excessive time to the brutalisation of women in an unholy spectacle that glorifies violence.

The review deems it a grueling hell that doubles down on misery and graphic nastiness without emotional payoff. It singles out the relentless brutality, ear trauma and graphic dog murder for complaint while noting the camerawork often distracts from the flow.

The critic finds it a bold and brutal but gruelling ride that cranks the series darker with inventive Deadite purpose and strong craft in extended takes and gore, while noting it occasionally becomes too unpleasant and dour with slack pacing.

The review calls it the single strangest Deadite movie yet, an oddly emotive gorefest in which organized French cinema chaos collides with brutal in-law drama. It praises the distinctive blend of styles and emotional undercurrents while noting its departure from franchise norms.

The critic sees it as an orgy of unmodulated mayhem that gives gorehounds what they want while sticking to the formula. It singles out the practical effects, inventive weaponry and Souheila Yacoub’s resilient performance for praise while complaining about the lack of humor, character depth and antic spirit of the originals.

The critic describes the film as a relentless endurance test of blood-and-bile soaked nightmare fuel.

The critic praises it as a frightening, funny, worthy successor to the franchise, highlighting the director's skillful direction, strong third act, mix of horror and comedy, and practical effects. The one singled out for praise is the unforgettable third act.

The film is the evilest entry in the Evil Dead series, with spectacular violence and dizzying camerawork that underscore the ugliness in its characters’ hearts and a family history of abuse. It piles on brutality and inventive gore until the house and everyone in it is obliterated, delivering peak Evil Dead showmanship.

The critic praises the disgusting set pieces, darkly funny beats, striking cinematography and the way new director Vaniček brings his own style while keeping the franchise creatively alive. It is memorable and distinct despite a somewhat flat ending.

The critic praises the film's blend of body horror nastiness and surprising humor, noting it avoids being unrelentingly grim like previous entries while delivering creative gore. They single out the director's visual flair and inventive camera tricks for keeping the action lively and fun.

The film has solid pacing and ingredients for a good horror yarn but never quite catches fire, lacking sufficient scares or brutality compared to the previous entry. It remains entertaining in isolation but is slightly disappointing as a follow-up.

The critic finds the film caught between horror and camp, trying to blend elements but ultimately falling flat; praises technical aspects like camera work and sound design but complains about underdeveloped story, weak character connections, and lack of tonal control.

The critic finds the film crude, cruel and misanthropic, lacking the mischief and visual flair of prior entries and resembling unpleasant torture porn more than fun horror. The toxic family metaphor is rote and the experience is an endurance test with little to redeem it.