horror
In an age where horror options are plentiful this time of year, Hell Fest’s derivative thrills almost feel insultingly disappointing.
We got the chance to speak to director Yann Gonzalez about his new film Knife + Heart after its US premiere at Fantastic Fest.
While last week’s episode was powerful, “Could It Be…Satan?” came in this week with a whisper, merely setting up for episodes to come.
Climax is an oddly boring affair, that shows Gaspar Noe has little of substance to offer when divorced from more offensive subject matter.
The third episode of American Horror Story: Apocalypse is a biblical and a grim fairy tale, delivering shock and unpredictability, as the Coven arrives.
Polterheist fails to succeed as a comedic or horrifying film, finding no progression of plot but rather further perpetuates racism, misogyny and homophobia.
Patient Zero has many of the elements of a good movie, just put together in a janky and unfortunate manner.
Gareth Evans delivers another gem with Apostle, and the Blumhouse-produced Cam is a satisfying watch despite its weak payoff.
In this entry of Mental Illness In The Movies, we discuss Hereditary, delving into how the film could be interpreted as an allegory for the fears of neurodivergent families.
We spoke with director Ramaa Mosley about her new film Lost Child, and about just going out there and making the movie you want.
Nicolas Cage stars in Between Worlds and Tunisian filmmaker Abdelhamid Bouchnak delivered an excellent horror – this is our second report from Austin’s Fantastic Fest.
Luca Guadagnino’s remake of Dario Argento’s Suspiria seeks to get under your skin, intimately and irreversibly – and succeeds in doing so.
With a minimal budget, Mara will satisfy an audience that enjoys jitters, with just enough scares that as you leave the theatre you might dread your next bout of sleep paralysis.
Summer of ’84 may have been passed over as a cheap Stranger Things knockoff, but there is surprising depth to it if you look beneath the surface.
The Toybox rises above being completely predictable with some interesting cinematic choices, and the decision to be unapologetically gruesome.