These films are weird—while The Ascent finally established the proper tone, all the while still taking itself serious in a rather goofy mythos, it slips back into the cracks of convoluted storytelling once Joel Soisson helmed these shot-back-to-back sequels that were shot in Romania in true Soisson fashion (the Dracula 2000 sequels to be exact). As absurd as the Christopher Walken trilogy was, at least it didn’t have Forsaken as filler junk that was extended into a barebones runtime to justify its existence—surprised to see Tony Todd, who is naturally the redeeming quality in a bizarre attempt at… something. Should’ve, and could’ve been a gripping conclusion in an already mediocre franchise.

These films are weird—while The Ascent finally established the proper tone, all the while still taking itself serious in a rather goofy mythos, it slips back into the cracks of convoluted storytelling once Joel Soisson helmed these shot-back-to-back sequels that were shot in Romania in true Soisson fashion (the Dracula 2000 sequels to be exact). As absurd as the Christopher Walken trilogy was, at least it didn’t have Forsaken as filler junk that was extended into a barebones runtime to justify its existence—surprised to see Tony Todd, who is naturally the redeeming quality in a bizarre attempt at… something. Should’ve, and could’ve been a gripping conclusion in an already mediocre franchise.