Horror Reviews
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‘The Man In My Basement’ TIFF Review – Two Great Leads Anchor Taut Psychological Thriller
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‘Cronos: The New Dawn’ Shines With Tense Combat and Oppressive Atmosphere [Review]
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‘Wednesday’ Season 2: Part 2 Is a Moving, Melancholy Meditation On Motherhood [Review]
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‘The Conjuring: Last Rites’ Review – Final Chapter Makes for a Heartfelt Farewell
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‘Alien: Earth’ Just Aired Its Best Episode With a Tribute to the Original ‘Alien’ [Review]
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‘Sinners’ Vinyl Soundtrack Review – Ludwig Gӧransson & Friends Summon Spirits With Hauntingly Good Tunes
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‘Somnium’ – Disjointed Genre Movie Manifests Hollywood Nightmares [Review]
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‘Alien: Earth’ Episode 4 Brutally Breaks New Ground for the Franchise [Review]
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‘Primitive War’ Review – Vietnam Dinosaur Movie Gets Bloody But Takes Itself Too Seriously
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‘Alien: Earth’ Episode 3 Delivers the Xenomorph Deathmatch Fans Have Wanted for Years [Review]
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‘Hell House LLC: Lineage’ Review – Exposition Heavy Fifth Entry Forgets to Scare
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‘Witchboard’ Is a Messy, Occasionally Fun Remake [Review]
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‘Jimmy and Stiggs’ Is a Neon-Soaked, Cocaine-Fueled Alien Assault [Review]
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‘Sweet Revenge’ – Jason’s Return Vignette Is Better Than You Might Have Expected [Review]
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‘Red Sonja’ Review – Matilda Lutz Gets Fierce in Adaptation Hampered by Constraints
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Channel Surfing Turns Spooky in ‘Transmission’ [Review]
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‘Alien: Earth’ Finds Heart & Hope in a Cynical, Scary World [Review]
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‘A Game in Yellow’ Review – Hailey Piper’s Cosmic Horror Book Is Sensual and Immersive
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‘Shaman’ Deconstructs the Standard Possession Film [Review]
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While Not a Huge Leap in the Genre, ‘Dead Take’ Is Still a Memorable Experience [Review]
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‘Weapons’ Review – Zach Cregger’s Suburban Shocker Is a Dementedly Funny Crowd-Pleaser for Sickos
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‘Wednesday’ Season 2 Excels With Edgier Tone But Still Has Plenty of Kinks to Work Out [Review]
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‘Killing Floor 3’ Has the Foundation for a Great Shooter, But Currently Lacks Meat [Review]
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‘How Far Does The Dark Go?’ Review – Queer Vampire Film Is More Music Video Mixtape Than Movie