‘Nosferatu’ may truly be Robert Eggers’ best film yet. He fired on all cylinders here and delivered a spirited modern rendition of a classic story that belongs in the same hallowed halls as the 1922 original from which it was wrought.
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The aptly named ‘Smile 2’, Parker Finn’s sequel to the successful ‘Smile’ offers new themes and great performances, although it can still a feel a bit too familiar.
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Art The Clown is back to terrify audiences yet again in 'Terrifier 3', a sequel that is not only bloodier than its predecessors, but more entertaining and ambitious as well.
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Samara Weaving keeps the blood count piling up in E.L Katz’s 'Azrael', but the film’s silent gimmick hampers its momentum.
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While director Natalie Erika James imbues 'Apartment 7A' - her prequel to Rosemary’s Baby with enough surreal imagery to keep us invested, it’s unfortunately hampered by an uninspired – and predictable – story.
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An electric body horror that would wake up any viewer, no matter the time of day - 'The Substance' is a must see for horror fans everywhere. Beyond being thematically rich, this film is a thrilling watch, technically strong and heralded by utterly convincing performances. [TIFF 24]
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James Watkins repurposes Christian Tafdrup’s 'Speak No Evil 'for an American audience. Elevated by a strong turn from James McAvoy, the movie sadly makes unfortunate changes to its ending that sink the film’s core terrifying message.
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After three decades, the juice is loose yet again in 'Beetlejuice, Beetlejuice', a sequel that manages to not only maintain the spirit of the beloved original, but dish out a wonderfully macabre new story for hungry fans as well.
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While Andra Day, Mo’Nique and Aunjanue Ellis-Taylor deliver terrific performances, director Lee Daniels makes the cardinal mistake of turning the strong family drama of 'The Deliverance' into a run-of-the-mill possession flick and never recovers.
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The beloved sci-fi franchise returns to its blood-soaked horror roots with 'Alien: Romulus' - a sequel that brings back the chills and thrills as it expands the lore of the series.
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While ‘Cuckoo’ begins full of promise, it slowly loses steam and becomes a disinteresting grab-bag of infinitely better productions.
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We need more movies like ‘Faces’. Not only on the small scale, but in theaters nationwide, working to reform a genre that has only been kept alive by content of the same caliber. Efficient, full of care, and running on fear, Faces is a good old fashioned horror thrill-ride.
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Watching ‘Longlegs’ in a theatre packed with people sitting on the edge of their seats is a thrilling experience that shouldn’t be missed. The film unfolds like a nightmare, making it one of the most compelling horror movies of the year, but, like a nightmare, may not have a lot to say beyond a creepy feeling.
Read More![‘Vines’ Review: A Body Horror Short Takes Home a Trio of Awards [Seattle Film Festival 2024]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/5f4d2505-7e02-4c6b-ae9b-0f1fd17095bc/e8975f8c-56de-4a99-900d-914456cf3844-transformed.jpeg)
The world is a chaotic place, and it is riddled with all sorts of existential problems that challenge our place in the universe. Climate change is certainly among these issues. How can we solve such complex issues ? Maybe with films such as director Luke Zwanziger’s eerily atmospheric body horror short ‘Vines’.
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The beloved horror franchise has returned to silence audiences once again with ‘A Quiet Place: Day One’, a sequel that manages to entertain in good measure, but not expand the lore and mythology stemming from the series’ novel concept.
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While ‘The Watchers’ falls apart near its end, its assured direction from Ishana Night Shyamalan showcases a singular talent in the making and a new voice to look out for in genre cinema.
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‘I Saw the TV Glow‘ examines gender, sexuality, and the painful nature of being human, using both hypnotizing visuals and disturbing characterizations. For the best first-time watch, viewers should go into this with an open mind and no expectations, letting the film take them where it wants to, and where it can.
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‘The King Tide’ will get under your skin by showing the failings of human nature, and how quickly people will exploit, abuse, and conspire in order to preserve the status quo. It is a horrifying thriller which will remain with you long after the end credits have finished rolling.
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Radio Silence has another twisted tale for audiences with ‘Abigail’, a new horror comedy that is destined for everyone’s yearly spooky-season movie rotation.
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‘The First Omen’ is a traditional prequel in the way that it unfortunately fails to justify its own existence, falling into the busy chasm of efforts long lost, doomed to the same fate.
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