horror
If you are in the mood for a light, funny, horror-comedy – heavy on the comedy – Useless Humans is something special.
Ju-On: Origins may not reinvent the formula of the franchise, it still has enough stuff to give the audience a terrifying nightmare.
1979’s Apocalypse Now has achieved an almost cult-like status, and no war film has captured the depravity of war the same way since.
Every moment of Homewrecker, crazy or scary or just plain weird, is played with a lightness that makes it a joy to watch.
An over the top, aimless blunder of foolery, Dreamland is remarkably disastrous yet instantly forgetful.
While it once remained in the shadows of cinema, Onibaba has since etched out a place among the pantheon of must-watch Japanese films.
Becky is an entertaining thrill ride but runs into trouble with its weak script and mediocre direction.
F.W. Murnau’s undeniable classic Nosferatu is a chilling, unsettling experience and a true case of mise en scène artistry.
The Tell Tale Heart is a punky, blood-spattered thrill ride from McClain Lindquist, whose debut short film brings something quite new to Poe’s story.
Final girls no longer owe us their heartbreak – we take a look at the trend in horror of the final victims becoming final survivors.
Malik Vitthal’s Body Cam is a forbidding tale of revenge that comes at you with speciously righteous fury, and that fury lingers.
Given this era of social distancing, now would be the ideal time to re-watch the Friday the 13th franchise, or start them for the first time.
The Wolf House uses stop-motion animation to render the world inside the titular house as an ever-evolving nightmare, and is completely immersive despite its freakiness.
When contrasted against the special designation conferred upon Final Girls, it seems apparent that the horror genre permits its mothers limited options.
Let’s take a look at Psycho II as one of Hollywood’s most famous belated movie sequels.