Horror Reviews
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[Review] ‘The Wailing’ Oozes Tension with Atmosphere and Dread
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[Review] Hulu’s Cult Series, “The Path”
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[Review] ‘What We Become’ Is a Compelling, Character-Driven Undead Tale
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[TV Review] “Scream” Returns With More of the Same
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[Review] ‘Fender Bender’ or What Happens When a Creeper Rear Ends You
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[Review] NECA’s 8-Bit ‘Terminator 2’ Figure Passes Judgment
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Katatonia ‘The Fall of Hearts’ Offers a Glimpse of Hope (Review)
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[Review] “Wolf Creek” Series is Scary, Flawed Mayhem, Just Like the Films
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[Blu-ray Review] ‘Regression’ is a Step Back for Alejandro Amenábar
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[Review] ‘Most Likely to Die’ Sticks to the Slasher Playbook
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[Review] ‘Observance’ is a Masterfully Crafted Thriller
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[DVD Review] Gary Busey Left ‘Mansion of Blood’, as Should You…
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‘Doom’ Review: Gorehound Gumbo
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[Review] Absolutely Nothing Happens in ‘The Darkness’
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[DVD Review] “Scream” Season One is Kind of Stupid but Kind of Fun
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[Review] “Preacher” is Your New Favorite Show
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Perturbator’s ‘The Uncanny Valley’ is Sheer Synth Bliss (Album Review)
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[Review] ‘The Offering’ is an Off-Brand ‘The Exorcist’, and it Shows
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[Blu-ray Review] ‘The City of the Dead’ is a Moody Tale of Witchcraft
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[Review] ‘Scherzo Diabolico’ is Devilishly Clever
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[Blu-ray Review] ‘Dead Kids’ is a Nice Blend of 80’s Slashers and 50’s Sci-Fi
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[BD Review] Drafthouse Films Polishes a Turd That is ‘Dangerous Men’
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[Review] Cupid Is a Coke-Snorting S.O.B. in Short Film ‘Q’
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[Review] ‘Restoration’ Finds Real Emotion in Supernatural Horror