2015
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[Review] ’13 Cameras’ is a Disturbingly Impressive Debut
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[Review] The Weirdness of ‘Curtain’ Won’t Be to Everyone’s Tastes
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[Review] ‘Ava’s Possessions’ Takes Post-Demonic Possession In a Fresh Direction
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[Review] There’s More to ‘The Lesson’ Than Just Torture
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Can 2016 Horror Improve on 2015 Horror?
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[Review] Bernard Rose Gives ‘Frankenstein’ an Effective Modern Jolt
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[Review] Anna Walton Can’t Save ‘Cherry Tree’ From Being a Rotten Cliché
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[Podcast] Whatever – December 31st, 2015 – ” ‘Mediocre’ Marvels of 2015″
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Jess’ Top 5 Favorite Horror Flicks of 2015
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[Review] Presentation Only Goes So Far In ‘Condemned’
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[Review] ‘Patchwork’ Sews Horror and Comedy Together
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[Review] Too Many Elements in Storytelling Undermine Screamfest’s ‘Naciye’
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[Review] ‘Re-Kill’ is Another Unfortunate Case of ‘Been There, Done That’
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[Review] ‘Howl’ Lives Up to Its Name in Many Ways
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[Review] ‘Deep Dark’ is Delightfully Weird and Impressive
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[Review] ‘Some Kind Of Hate’ is Conflicting With its Subject, Characters
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[Review] Duplass and Phillips Shine in ‘Manson Family Vacation’
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[Review] Takashi Miike Overloads With ‘Yakuza Apocalypse’
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[Review] Shooting ‘The Messenger’ Would Save it From it’s Miserable, Undeveloped Existence
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[Review] ‘Fire City: End Of Days’ Impresses with Demonic Film Noir
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[Review] ‘Wind Walkers’ Tries to be ‘Predator’ In Florida, But Fails
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[Review] Avoid ‘Dark Moon Rising’ Unless You Hate Yourself
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[Review] ‘Old 37’ As a Crowdfunded Slasher Done Right
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[Review] ‘Closer to God’ Approaches with Great Acting, Wonderful Tension