horror
Summer of 84 strives in its scenes of tension and horror, but fails in its moments of childhood nostalgia and friendship.
Unfriended: Dark Web shows that by tapping into modern communication, it’s possible to create a new cinematic language for the slasher sub-genre.
Airing the first three episodes at once, we’re able to get a good grasp on Castle Rock’s core tale, without fully knowing the depths of this thrilling new series by creators Sam Shaw and Dustin Thomason.
While the premise is nothing new, Calibre’s approach to it is rather refreshing – it’s a confident thriller that constructs tension effectively.
The anthology format for TV is often the perfect forum to spread ideals about morality; here are a few shows that utilize this to the fullest.
Xavier Gens’ science fiction fantasy Cold Skin is a hotbed of promising concepts. The problem is, it doesn’t know what to do with them.
Distorted leaves viewers with a disjointed, unoriginal story, a made-for-tv feel, and underwhelming thrills, with the only saving graces being the presence of Ricci and Cusack.
Another Wolfcop is a worthy horror comedy, with a memorable team of characters at its center.
Brother’s Nest is a return to form for Shane and Clayton Jacobson, their comic noir feeling like an Australian Hitchc*ck film.
The Devil’s Doorway is effective up to a certain point, but ultimately it squanders all of the potential set up in its first act in lieu of a very by-the-numbers found footage horror.
An uneven final product with a mess of ideas and images thrown onscreen, The First Purge will sear moments in your mind, leaving you to question whether it was all worth it.
With a clever use of eerie scenery and camera shots, The Endless is a vortex that goes full on wacky, without diluting its purpose, only strengthening it.
Who’s Watching Oliver rises above those that have come before and is poised to become a cult classic for lovers throughout the genre.
Spidarlings is a love letter to a forgotten era of midnight movies – but in 2018, it feels less revolutionary than in their 70’s heyday.
Vidar the Vampire shows the lack of change within the filmmaking community in regards to the portrayal of women on screen and further proves the necessity of the #MeToo movement.