horror
Despite its many flaws and shortcomings, The Body At Brighton Rock is enjoyable when taken as a cheap comedy with some high tension moments.
Dan Curtis was a fascinating and talented filmmaker, and Master of Dark Shadows helps fill an information void where he’s concerned.
The Silence is worth a watch because of Stanley Tucci alone, but if you crave a good film, just pick up a copy of A Quiet Place instead.
Thanks to our friends at Roadshow Films, Film Inquiry is happy to announce that we’ve…
Lost Child has an unquestionably compelling foundation, but it becomes too drenched in its own sentimental messaging.
Three episodes in and the new Twilight Zone has been way too blatant so far, hopefully the remaining episodes aren’t as predictable.
The Wind reverberates with an eerie tone, and though occasionally uneven, there is enough here to ultimately recommend it, especially for fans of Westerns or horror.
The Curse of La Llorona is not original enough to stand on its own, relying too intently on jumpscares and with not enough focus on the characters around them.
The latest adaptation of Stephen King’s Pet Sematary has some interesting new ideas, but it never quite reaches liftoff.
Flay boasts an intriguing and unique horror concept, but is let down by a lack of depth to its characterisation.
While Peele’s The Twilight Zone is an improvement compared to the previous reboots, viewers are better off revisiting Serling’s original series.
Behind the grief, behind BOB, lies the simple reality that Twin Peaks pushes: that the dream of suburbia and happiness that America sells may be a lie.
Pet Sematary, in this critic’s opinion, is a constant battle between excessive production and exceptional performances.
The first episode of What We Do In The Shadows is a macabre romp that remarkably adds and expounds upon the comedic elements of its filmic progenitor.
We’re in a shift in the current age of horror, where films tend not to be outright scary, but instead delve more subtly into inborn fears.