horror
We had a chance to speak with Sam Keeley, star of the upcoming horror film The Cured. We spoke about his career, his influences, working with Ellen Page and David Freyne, and what project he’s excited about in the future.
The Cured is a fantastic zombie film with intelligent writing, precision direction, top-tier acting, and sincere sociopolitical themes and parallels that are essential in elevating horror films to something greater than just scares and gore.
We were able to talk with Neville Pierce, film journalist turned filmmaker, director of the short films Lock In, Ghosted, and Bricks.
The accomplished acting, stunning cinematography, and solid direction keeps Rift constantly engaging and steeped with talent, absolving it of its genre short-comings.
Still/Born is able to successfully convey its material in large part due to the powerful performance of Christie Burke. We were able to speak with Brandon Christensen, director of the horror film Still/Born, which premiered on February 8th!
While by no means without its faults, The Midnight Man, from director Travis Zariwny, is a good time horror film that fans of the genre will love.
Living Among Us is a poorly planned improviso, lacking direction, depth, story, character development and the ability to engage the viewer.
Like Me is a visual spectacle that delves into the dark underbelly of social media, showing the lengths that people will go to in order to feel accepted on the internet.
The Cloverfield Paradox is helped along through a clever use of viral marketing, but it’s not enough to save an otherwise generic and messy sci-fi thriller.
If you’re looking to be scared, then The Ritual may satisfy that itch. Just know that you’ll probably have seen it already, in one horror film or another.
The Spierig Brothers’ latest “based on a true story” horror movie Winchester is a cinematic checklist of every dreadful ‘haunted house’ cliche, every formulaic competent that’s been implemented by other, better genre entries.
Chinese-Australian co-production Guardians of the Tomb is one of the most cliched, dull and shamelessly corporate creature features you could possibly imagine.
With a multitude of successful hits across television and film, Netflix misses a beat with their latest film The Open House, its convoluted story and under utilized characters causing the film to fall flat before it even begins.
Devil’s Gate frustratingly flirts with greatness- however, director Clay Staub’s genre mash-up is too uneven to sustain the entirety of its running time.
The Babysitter is perfectly trashy popcorn entertainment, with a distinctive, highly-stylized vision and self-satirizing bite; a lesson in embracing genre conventions rather than falling victim to them.