Unsettling and emotionally effective all the same, ‘Bring Her Back’ is a very solid horror-thriller, which has no shortage of stunning emotional beats and set-pieces, merging together into one of the year’s finest so far.
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All we have to say about ‘Clown in a Cornfield’ is keep the clowns away. They’re always going to be scary - whether they haunt or nightmares or they’re simply a poor suggestion on your playlist.
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For the first time in a long time, a Sony Pictures adaptation, specifically the video game adaptation of ‘Until Dawn’, appeared to bear at least some semblance of hope from the outside looking in. It didn’t happen.
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While the surface level of ‘The Shrouds’ may appear complex, the film’s constant wrestling with the director’s own mortality ensures it will be remembered as one of David Cronenberg’s most engrossing efforts.
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There more than a little Monkey-business going on, as Director Osgood Perkins’ latest film, ‘The Monkey’ is certainly not on the level of his ‘Longlegs’, as the film struggles with tonal coherency.
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‘Heart Eyes’ combines a Valentine’s day rom-com with a traditional slasher, but neither side of the coin creates any luck for the film.
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Leigh Whannell reinvigorates interest in the werewolf through his frequently thrilling ‘Wolf Man’, even if the movie stumbles as it reaches its uneventful conclusion.
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‘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.
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