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[Review] Shudder’s Entertaining Creature Feature ‘Monstrum’ Delivers the Monster Goods
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[Review] Netflix’s ‘The Platform’ Is Grotesque and Compelling Horror Satire
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[TIFF Review] ‘Jallikattu’ is Pure Insanity, an Apocalyptic Cinematic Ride Through Hell
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[TIFF Review] High Energy ‘Guns Akimbo’ Delivers Fun, Dumb Video Game Action
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[TV Review] “Swamp Thing” Brings Body Horror Scares and Loads of Potential to DC Universe
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[TV Review] Jordan Peele Ushers in the Perfect New “Twilight Zone” for Our Nightmare Reality
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[Review] Simon Pegg and Nick Frost Deserve Better Than ‘Slaughterhouse Rulez’
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[Sundance Review] ‘The Death of Dick Long’ is a Bizarre and Kinky Comedy
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[Sundance Review] ‘Wounds’ is the Nastiest and Grossest Horror Film of the Year (So Far)
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[Sundance Review] ‘The Hole in the Ground’ Rewards Patience with a Killer Premise
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How 2018 Proved That There is Still Life Left in the Zombie Genre
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[Best of 2018] How ‘Fallout 76’ Became the Franchise’s First True Horror Game
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[Review] “Deadwax” Has An Eerie Atmosphere And Killer Sound
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[Review] Don’t Accept the ‘Monster Party’ Invitation
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[Short Film Review] “Girls Night 2” Signals the Birth of a Promising Slasher Villain
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[Sitges Review] The Nihilism of Lars von Trier’s Darkly Comedic ‘The House That Jack Built’ Rivals ‘American Psycho’
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[Sitges Review] Dragged is the Key Word In ‘Dragged Across Concrete’
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[Sitges Review] The Kids Are Not Alright In Dreadful ‘School’s Out’
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[TIFF Review] ‘Diamantino’ is Europe’s Bonkers Answer to ‘Sorry To Bother You’
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[TIFF Review] ‘The Man Who Feels No Pain’ is India’s Highly Entertaining Answer to ‘Deadpool’
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[TIFF Review] ‘Jessica Forever’ Aims High But Falls Flat
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[TIFF Review] ‘The Legend of the Demon Cat’ is an Entertaining Fantasy Mystery
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[TIFF Review] ‘The Wind’ is an Ambitious But Disappointing Horror Western
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[TIFF Review] ‘Freaks’ is a Claustrophobic and Twisty Sci-fi Thriller