IFC Midnight
Flux Gourmet is a movie wholly dependent on making sound editing and cinematography do all the work and they can’t quite get there.
While it crafts compelling images, She Will doesn’t do enough to stand out from other recent films to use psychological horror to tell a tale of #MeToo.
The Feast is a well-crafted film, boasting exquisite shots that deserve their place in horror recognition, but the story itself drags it down.
We Need to Do Something is a cringeworthy experience providing audiences a graphic examination of abuse coupled with the intricate craftsmanship of horror.
While Settlers doesn’t quite reach its lofty goals, it instills a palpable sense of dread that keeps you planted in your seat.
The Vigil finds success in its intricate and delicate layering of its narrative, giving time for viewers to digest each tidbit given.
Stephanie Archer had the opportunity to participate in a round table with director Jon Stevenson and cast members Wil Wheaton and Brian Landis Folkins about Rent-A-Pal.
Rent-A-Pal succeeds in recreating its 90s aesthetic as it examines the videotape dating culture of the 1990s in this retro horror film.
In this delightfully strange suburban comedy by sketch veterans Jocelyn DeBoer and Dawn Luebbe, adults…
I Trapped the Devil ultimately has just enough meat on its bones to stick with viewers willing to plunge into its grim, nightmarish world.
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 Clovehitch Killer is a creepy coming-of-age serial killer noir with a well-written script, three-dimensional characters and a career performance by Dylan McDermott.
Lacking the dirsired jump scares and trust in itself, Our House is a film that will now be stuck in limbo, too tame for modern horror audiences and not emotionally satisfying enough for others.