horror
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.
Even if you admire Deerskin’s audacity, its sudden and puzzling conclusion leaves much to be desired.
Why do we worry ourselves over scenarios that are literally millions of times less likely to happen than dying while doing activities like driving and eating?
Antrum: The Deadliest Film Ever Made is an entertaining, but largely empty exercise in metanarrative and nostalgia.
With The Other Lamb, Malgorzata Szumowska gives us a fresh perspective on the topic that proves to be just as challenging as it is wickedly absorbing.
Cargo fails on its promise to meld the concepts of science fiction, fantasy and Hinduism, and ends up feeling muddled.
Rarely do Christians shudder at the horror of Jesus’s mastery over death and his power of resurrection that form the foundation for the hope Christianity offers the world.
The Platform is intriguing enough to reel in viewers who aren’t there just for its depravity, but unfortunately it fumbles developing anything further.
Although its premise is one of the most outlandish in recent memory, Extra Ordinary grounds itself with witty exchanges and a visually pleasing aesthetic.
Nina Wu tells a gripping tale, aided by a skillful filmmaker and an incredible performance. Its methods are surreal and dreamlike, but its final destination is painfully real.
With its deeply rich messaging and intense showcase of tension, The Toll is definitely a film to add to your must-see list.
Not only does 2010’s The Wolfman show us Sir John Talbot in a new, critical light, it reveals a corrosive ideology underneath a great, genre-defining film.
Castlevania is just as exciting as any season that came before and raises the bar with one of the most shocking penultimate episodes of the entire show.
The Hunt is a textbook example of trying to force a story into a concept, rather than giving the story its due.