“Host:” Quarantine Horror for the Online Generation
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.

While Saint Petersburg is shocked by the series of mysterious suicides, Egor is about to move to Moscow to leave the past behind and start over. His plans change when he meets Karina who believes something supernatural is happening. Together they will try to reveal the secret of the reoccuring deaths. The secret that will lead them to the sinister Man in White.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
You can’t talk to my grandpa about The Sopranos. You can’t talk to him about The Godfather either. Merely by bringing up the subject, you’d be treated to a lecture on how movies and TV want you to believe that all Italians are criminals and mobsters. He won’t watch any of it, in protest.
Housefull 5 attempts something bold with two endings — but does the gamble pay off? Read this spoiler-filled review for a breakdown of both versions, standout moments, and why it might be the franchise’s most forgettable entry yet.