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‘Amityville: Emanuelle’ Brings the Funny Back to the “Franchise” [The Amityville IP]
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Celebrating Under Seen Zombie Film ‘The Girl With All The Gifts’ [Horror Queers Podcast]
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‘Hold Your Breath’ Review – Sarah Paulson Can’t Save a Predictable Frontier Tale [TIFF]
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‘Ick’ Review – Joseph Kahn Delivers an Entertaining, Uneven Horror Comedy [TIFF]
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The “Weird” Appeal of Tim Burton’s ‘Beetlejuice’ [Horror Queers Podcast]
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‘Else’ Review – Worlds and Bodies Merge in French Virus Film [TIFF]
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‘Seeds’ Review – Indigenous Comedy Thriller Is Fun, But Inconsistent [TIFF]
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Lifetime’s ‘The Past Comes Knocking’ Takes Itself a Bit Too Seriously [Review]
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‘The Perfect Couple’ Is Netflix’s Attempt to Do ‘The White Lotus’ [Review]
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Car Sex and Serial Killing in ‘Titane’ [Horror Queers Podcast]
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‘Amityville Elevator’ Is an Allegory for the Entire “Franchise” [The Amityville IP]
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The Mean Prescience of ‘Unfriended: Dark Web’ [Horror Queers Podcast]
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Lifetime’s ‘Stepmom from Hell’ Spoils the Reveal [Review]
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‘Amityville Job Interview’ Doesn’t Get the Job Done [The Amityville IP]
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1999’s ‘The Haunting’ Offers Exquisite Sets and Little Else [Horror Queers Podcast]
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‘The Dead Thing’ Is a Stylish Look at a Toxic LA Relationship [Fantasia Review]
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Musical Horror Comedy ‘Chainsaws Were Singing’ Is a Gory Delight [Fantasia Review]
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‘Frankie Freako’ Is a Fun Ode to ’90s Puppet Mayhem Movies [Fantasia Review]
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‘The Chapel’ Offers Great Performances and Muddled Supernatural Thrills [Fantasia Review]
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‘Shelby Oaks’ Review – Chris Stuckmann’s Debut Wears Its Horror Influences On Its Sleeve
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Lifetime’s ‘When Mom Becomes a Murderer’ Is Equal Parts Mystery and Silly [Review]
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The Queer Undertones of Stanley Kubrick’s Masterful ‘Eyes Wide Shut’ [Horror Queers Podcast]
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The Familiar Class Critique of ‘The Inheritance’ [Review]
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‘Amityville Frankenstein’ Isn’t Worth Reanimating [The Amityville IP]