horror
Michael Dougherty’s films sneakily inject themes of religion in the horror narrative. Danny Anderson takes a look at how two of his films subvert Christianity.
Annabelle Comes Home features great performances from its young cast, but the story is more a miss than a hit. Kevin Lee reviews.
Writer/Actor Adam Seybold discusses his newest film, Deadsight, the nuances of acting in horror movies, and how horror cinema is having a cultural moment.
The Dead Don’t Die was a huge disappointment with too many plotlines and characters for both the dead and undead to handle.
Horror classics When A Stranger Calls (1979) and When A Stranger Calls Back (1993) are being re-released on BluRay. Alex Lines takes a look.
We spoke with Morocco Vaughn, a Chicagoan filmmaker whose directorial debut Mollywood has just been released to digital and on-demand.
In his first recap from the 2019 Sydney Film Festival, Alex Lines reviews Saturday Afternoon, Synonyms and Why Won’t You Just Die?
A film that is not enjoyed so much as processed, Midsommar is a rare experience that is not to be missed. That being said, you absolutely cannot skip it.
While it may stumble under the weight of its own plot, Recovery is flawed, but it’s fun with moments that are really worth checking out.
Endzeit (Ever After) is a breath of fresh air to see that there can still be originality in a tired troupe, a refreshing take on the apocalypse.
With poor dialogue and a failed execution, Hallowed Ground is a massive disappointment and just might be one of the worst films of 2019.
While Head Count shows potential and has some really good high level thoughts, there’s just not enough scares to bring the film to life.
Directed by Deon Taylor, The Intruder treads into territory that is unfathomable for most of us and may not be the kind of place you want to stay in.