Horror Reviews
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‘Resident Evil Requiem’ Bridges the Old and New for a Terrifying, Action-Packed Experience [Review]
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‘Monarch: Legacy of Monsters’ Season Two Review – A Titan X-Sized Improvement Over Season One
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‘Nowhere Burning’ Review – Another Horror Spellbinder from Catriona Ward
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Blumhouse’s Now Streaming ‘No Me Sigas’ Is a Surprisingly Effective Found Footage Hybrid [Review]
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‘Scarlet Hollow’ Builds on Black Tabby Games’ Superb Visual Novel Prowess [Early Access Review]
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‘Psycho Killer’ Review – A Vapid, Generic Satanic Serial Killer Movie
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‘Redux Redux’ Review – Multiverse Revenge Thriller Smartly Refuses to Get Repetitive
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‘The Dreadful’ Review – ‘Onibaba’ Retelling Explores the Horrific Ties That Bind
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‘Diabolic’ Review – Cult Horror Will Win You Over with a Wild Final Act
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‘The Mortuary Assistant’ Review – Video Game Adaptation Struggles to Scare
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‘Dead First’ Book Review – Johnny Compton’s Latest is Must-Read Horror Noir
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‘Gale: Yellow Brick Road’ Review – A Much Too Severe ‘Oz’ Reimagining
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‘REANIMAL’ Continues Tarsier Studios’ Brand of Surreal Horror [Review]
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‘Crisol: Theater of Idols’ Is a Charming Callback to Gimmick-Centric Shooters [Review]
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‘Carmageddon: Rogue Shift’ Brings Glorious Vehicular Carnage, Mixed Roguelite Elements [Review]
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‘Romeo is a Dead Man’ Is a Weird Bloody Blast [Review]
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‘Cold Storage’ Review – Joe Keery and Georgina Campbell Bring Date Night Fun to Outbreak Horror Comedy
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‘The ‘Burbs’ Is A Formulaic Cul-De-Sac That Struggles To Make Its Case [TV Review]
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‘Twisted’ Is A Messy And Misguided Morality Tale With No Compass [Review]
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‘The Strangers: Chapter 3’ Review – Meandering Trilogy Experiment Finally Reaches Its End
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‘Bowels of Hell’ Review – Constipation Becomes Metaphor in Gross-Out Horror Comedy
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‘The Arborist’ Review – A Collection of Tropes in Search of a Story
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‘Whistle’ Review – Likeable Characters and Great Deaths Offset A Familiar Cursed Object Film
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‘Don’t Look in the Dark’ Is a Victim of its Own Found Footage Gimmick [Review]