horror
Looking back on “the gayest horror film ever made”, Scream Queen! My Nightmare on Elm Street is the kind of documentary you wait all year to see.
Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
Bloodline is a truly frustrating experience – a few less unneeded twists and turns might have made the whole thing plausible.
This TIFF 2019 report focuses more on the stranger side of TIFF, including the films Color Out of Space and The Long Walk.
Beyond a creative design and trailer, Killer Sofa is an idea that may have been conceived and executed foolheartedly.
Corporate Animals by no means breaks the horror/comedy mold, but there’s some laughs to be had.
With standout and nuanced performances, Villains is one of the funniest horror films you will see in quite some time.
Don’t Let Go sounds clever and mystical, but it’s a time-consuming thriller with alluring configuration and very little payoff.
I Trapped the Devil ultimately has just enough meat on its bones to stick with viewers willing to plunge into its grim, nightmarish world.
Between a disorganized format, poor storytelling choices, and novice performances, we condemn 47 Meters Down: Uncaged to the chum bucket.
Predictable to a fault, Ready or Not is still engaging, edge-of-your seat entertainment that brings just enough gore coupled with humor.
The losers are as compelling as before, Chapter Two successfully binds this group to its former to give fans a nuanced end.
We spoke with director Richard Bates, Jr. of horror film Tone-Deaf, about his inspirations and what it was like directing acting veterans like Kim Delaney and Robert Patrick.
Tigers Are Not Afraid is a standout film beneath the phantasmagorical flourishes is a story that is all too grounded in reality.
Where the company has become an auteur-like entity synonymous with good, cheap thrills, The Keeping Hours just isn’t scary enough to live up to Blumhouse’s horror brand.