HOUSE ON HAUNTED HILL — SHOCKTOBER!

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William Castle's 1959 B-Movie horror classic retains its goofy charm with a litany of gimmicky sight gags that, however tame by today's standards, keep their childish appeal.

The popular set-up trope for this tale of murder involves five specifically chosen people to attempt winning $10,000 for each one that can withstand an entire night in Vincent Price's "haunted" house.

Wealthy Frederick Loren (Vincent Price) in unhappily married to Carol Ohmart's Annabelle. The couple hate each other so much that either one could kill the other.

So it goes that Frederick supplies each "party" guest with a loaded gun, presented in cute little coffin cases.

Vincent Price does his all-knowing wink to the audience as he glides through the action with marvelous aplomb.

"House On Haunted Hill" is a kid-friendly horror movie that tickles as much as it surprises.

Of special importance to the film is it's use of the historic Frank Lloyd Wright-designed Ennis House in Los Feliz California.

William Castle ("King of the Gimmicks") revels in the story's silliness. It's all an excuse to get the audience to scream along with the actors.

If you want silly fun for your Halloween popcorn-eating enjoyment, "House on Haunted Hill" is a safe bet.

Not Rated. 75 mins.

MIDSOMMAR — SHOCKTOBER!

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Writer/director Ari Aster's brilliant horror/social satire is a film that would make M. Night Shyamalamadingdong jealous, very jealous.

"Midsommar" is everything that M. Night imagines his movies to be, but are not. Namely, being truly terrifying, albeit with a keen wit regarding theme and plot development. Smart.

Bold.

You want "character-driven"?

Well here it is.

Carried by Florence Pugh's flawless performance, "Midsommar" could have yet been improved upon with a good 12 minutes of editing.

Nonetheless, Ari Aster isn't afraid to shock his audience into submission. If ever there was a Halloween movie guaranteed to shock you, "Midsommar" is it.

Prepare for the worst.

This is one brutal movie. Not for the faint of heart.

"Midsommar" will not be everyone's cup of tea.

That said, if you're down with Aster's nuanced restraint, even his graphic depictions are engaging.

The violence is just literal enough, but you can clearly make out rubber from flesh.

The cycle of life, as carried out in a dystopic Swedish cult community, is the social Petri dish that Ari Aster uses to examine death, for the complex confusion and fear that it instills in all humanity.

Indoctrination is an essential part of the cult plan.

There's even a slasher-film aspect to "Midsommar" that tips its hat to black comedy.

All you need to know going into this transgressive (if surrealistic) film is that it covers: animal abuse, cannibalism, incest, suicide, matricide, homicide, and some serious fucking.

My work here is done.

Get thee thinking cap on.

Rated R. 148 mins.

HITMAN

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Richard Linklater and co-screenwriter/actor Glen Powell craft an enticingly funny and sexy social satire inspired by an unlikely true situation.

Leave it to Texas to hire a nerdy math and philosophy college professor to pretend to be a real-life hitman in order to catch those seeking unsavory assistance in the dispatching of an enemy.

That was back in the '80s and '90s, before texts, emails, social media posts, and search engine requests provided most of the background evidence in such cases.

Although the narration categorically informs us that hitmen don't really exist; that little bit of exposition is, well, absolutely untrue; it's just that everyday civilians don't usually have access to such skullduggery.

Rather than Houston, where the actual events took place, Richard Linklater sets the action in New Orleans. It reminds us of what a cool location New Orleans is for movies to be filmed. If there's one city in America that is palpably sexual, it's The Big Easy.

Glen Powell makes a splash as Gary Johnson, a mild mannered math teacher who finds his true calling, and a main squeeze (played by Adria Arjona), when he goes undercover to participate in sting operations against those wishing to purchase the services of a cold blooded killer, namely one poorly disguised Gary Johnson.

"Hitman's" overriding themeline is put both succinctly and indirectly during Gary Johnson's teaching efforts with his classroom students.

How well do we know ourselves?

What is our facility for changing our behaviors?

Gary tells his students to seize the identity that they want for themselves.

These burning questions catch fire as we are introduced to archetypal characters in search for illicit relief from personal problems further clouded by misinformation and America's twisted social norms.

While it may not be a perfect movie, "Hitman" is a perfectly nuanced satire.

"Hitman" comes at right time.

If only we could have such movies without the presence of guns. I suppose that's a big part if this movie's premise.

Richard Linlater's resume just keeps getting better, and better, and better.

Rated R. 115 mins.