horror
With sophisticated cinematography and aesthetics, The Strangers: Prey at Night and its moody semblance of survival preserves dread just enough to deserve its place in slasher cinema.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.
Even though it promises a scary journey, Against the Night fails on all levels. The poorness of its plot, direction, and performances make this already short film more unbearable than it ought to be.
Despite strong leads and commendable technique, The Lullaby falls short of being a solid horror film due to its dull setting, convoluted story, and some unnecessary twists.
Demon House has a crawling sense of escalating paranoia, with witness accounts and medical testimonials, Zak Bagans presents a documentary that will have you believing this just might have happened.
Disguised simply as a small-scale action horror film, Mohawk becomes a good focal point for something much larger than itself, which enables its flaws to be more readily overlooked.
They Remain lives in the shadows of many similar films that came before it, but it’s not quite as captivating as any of those due to gimmicky cinematography and a story without much momentum.
A classic horror film of Haitian voodoo and zombies, The Serpent and the Rainbow continues to scare and delight viewers with its historical relevance and impressive details.
Despite a premise which would beckon horror fans and cinephiles alike, Death House doesn’t deliver. Its many references and horror icons don’t contribute much to a story that is far too caught up in itself to be any fun.
Annihilation is best viewed as a trip deep into an otherworldly house of horrors, offering a deliberately illogical twist on the formula of horror movie storytelling.
We delve into the works of Carl Theodor Dreyer, the Danish director that is behind some of the greatest masterpieces in cinema, among them Vampyr, Gertrud and The Passion of Joan of Arc.
Predictable and boring, Leatherface fails to give viewers and fans of the franchise a gripping, riveting, startling movie on how a serial killer family is born.
Unsane has been filmed with an iPhone, giving the picture a paranoia-fuelled low-fi fuzz. This is more than just a marketing gimmick, as Soderbergh’s film centers on the idea of stalking – a timely focal point considering the mass of sexual allegations that Hollywood has found itself mired in.
The Lodgers never quite meets its potential. This is the kind of Gothic horror mystery that has been done before, better, but that keeps us optimistic for the future of those involved.