Trace Review
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‘Hypochondriac’ SXSW Review – Tackling Mental Illness Through a Queer Horror Lens
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‘Slash/Back’ Review – A Delightful Throwback to ’80s Gateway Horror [SXSW]
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‘Everything Everywhere All at Once’ SXSW Review – A Magical Triumph of Cinematic Storytelling
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[SXSW Review] ‘Sound of Violence’ Has a Muddled Message About Trauma
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[SXSW Review] ‘Offseason’ Offers Mild Thrills Amidst a Thin Narrative
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[SXSW Review] ‘The Feast’ is Bloody Good Eco-Horror
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[SXSW Review] ‘Paul Dood’s Deadly Lunch Break’ Delivers Gory Charm
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[Review] ‘Random Acts of Violence’ is a Brutal and Merciless Slasher from Jay Baruchel
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[Review] A Rideshare Becomes a Nightmare in ‘The Toll’
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[Review] ‘Daniel Isn’t Real’ is a Unique and Terrifying Vision
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‘The Pool’ Review – It’s Man vs. Croc vs. Abortion in Ridiculously Fun Thriller! [Fantastic Fest]
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[Fantastic Fest Review] Netflix’s ‘In the Shadow of the Moon’ Tries to Be Too Many Things at Once
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[Fantastic Fest Review] Mark Patton Sets the Record Straight in ‘Scream, Queen! My Nightmare on Elm Street’
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[Fantastic Fest Review] ‘Adoration’ Tells a Twisted Love Story Between Two Children
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[TV Review] The Killer in ‘Scream: Resurrection’ Makes a Mockery of Horror Fans Everywhere
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[TV Review] “Scream: Resurrection” Should Have Stayed Dead
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[Review] Dennis Quaid Channels Nicolas Cage in ‘The Intruder’
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[SXSW Review] ‘Tone-Deaf’ Forgets to Be Funny
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[SXSW Review] ‘Porno’ is a Flaccid Attempt at Fun
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[SXSW Review] Pollyanna McIntosh’s ‘Darlin’ is an Underwhelming Follow-Up to ‘The Woman’
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[Review] ‘Villains’ is Cuckoo Bananas and Revels in Every Minute of It
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[SXSW Review] ‘Us’ Proves That Jordan Peele Isn’t a One-Trick Pony
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[Review] ‘All the Creatures Were Stirring’ is a Cinematic Lump of Coal
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[Review] Richard Brake Delivers a Haunting Performance in ‘Perfect Skin’