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[Horror Queers] Talking Troma, “Bad Movies” and Juvenile Humor In ‘Rabid Grannies’
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[Review] ‘Halloween’ Delivers a Satisfying Laurie vs Michael Showdown 40 Years in the Making
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[TIFF Review] Neil Jordan’s ‘Greta’ Falters By Falling Somewhere Between Thriller and High Camp
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[TIFF Review] ‘Hold the Dark’ is a Challenging, Unconventional Thriller
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[TIFF Review] Gaspar Noé’s ‘Climax’ Offers Dance and Madness
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[TIFF Review] ‘Gwen’ is a Gorgeous Slow Burn Reminiscent of ‘The Witch’
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[TIFF Review] Ozploitation ‘Nekrotronic’ Offers Silly, Albeit Familiar, Horror Comedy
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[Review] Shane Black’s ‘The Predator’ Leans Hard into Its “R” Rating for a Fun But Clunky Time
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[Horror Queers] Debating Mixed Metaphors in Lesbian Telekinesis Film ‘Thelma’
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[Horror Queers] The Sad, Underwhelming Saga of Erotic Thriller ‘Sliver’
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[Horror Queers] Debating Campiness and Jon Voight in ‘Anaconda’
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[Horror Queers] The Horrors of Coming Out in ‘Closet Monster’ & ‘Bugcrush’
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[Interview] Horrific ‘Downrange’ Takes Aim at Social Fears
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[Horror Queers] The Delicious Homoeroticism Of ‘The Covenant’ And ‘The Brotherhood’
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[Review] ‘Before We Vanish’ is a Human Drama Disguised as an Alien Invasion
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[TIFF Review] ‘Veronica’ is a Stylish, Albeit Familiar, Possession Film
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[TIFF Review] ‘Vampire Clay’ is an Unintentionally Funny Mess
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[TIFF Review] ‘Mom and Dad’ is Peak Cage (Not in a Good Way)
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[TIFF Review] ‘The Shape of Water’ is a Beautiful and Captivating Fairytale
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[TIFF Review] ‘The Ritual’ Will Make You Reconsider a Hike in the Woods
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[TIFF Review] Occult Film ‘Pyewacket’ Succeeds by Teasing and Delaying the Horror
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[TIFF Review] ‘Brawl in Cell Block 99’: Brutality of Fights Worth the Price of Admission
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[Review] ‘mother!’ is a Bold, Fascinating, and Divisive Experience!
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[TIFF Review] ‘Revenge’ is a Bloody Revisionist Take On the Rape-Revenge Film
