‘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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While ‘Immaculate’ won’t go down as a horror classic, it won’t harm Sydney Sweeney’s rising star like her last release almost did. In fact, the film had potential that it just couldn’t reach due to the lack luster writing. Continue for our full SPOILER-FREE review.
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Just in time for Valentine’s Day, director Zelda Williams has brought audiences ‘Lisa Frankenstein’, a quirky, charming throwback that is destined for cult classic status.
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Whichever way you spin it critically, Eli Roth’s ‘Thanksgiving ‘has certainly been a financial success, and a sequel would be no surprise, despite the fact the film isn’t anything to truly be thankful for.
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No matter where that scenario goes though, from a purely artistic standpoint, The Exorcist: Believer is a fine achievement. It understands the horror standard on which it’s based to a notable degree, offers more than a few memorable moments, and delivers on being more than basic blockbuster horror.
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Make no mistake. ‘A Haunting in Venice’ may not be perfect, but it’s still a scary good time. While it’s hard to say if it’s the best in the franchise, it is undeniably just as good as the first two entries.
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‘The Nun 2 ‘ may not suit everybody, but anyone willing to give it the time of day should find something to appreciate. It’s a thoroughly satisfying horror blockbuster that bends the genre’s common clichés, though it doesn’t break them.
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‘The Last Voyage of the Demeter’ is a lean, studio-stunted yet passionate horror film that boasts a strong lead performance and vintage setting. It may not be the greatest monster-thriller in recent memory, but absolutely deserves the attention of horror junkies.
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The film is an experience you have to commit to, and it’s a difficult ride, but there’s something of value within ‘Talk to Me’, that everyone can enjoy.
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A priest, a psychic, and an astrophysicist walk into a haunted house. While you might think that’s a setup for some cheesy joke, it’s a partial plot description for Disney’s latest film adaptation of its iconic theme park attraction, ‘The Haunted Mansion’.
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Unless you’re an Insidious super-fan, you can safely skip ‘Insidious: The Red Door’. Let’s hope this franchise gets some much needed time behind closed doors; red or otherwise, and lock from the outside.
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Director Rob Savage takes a crack at PG-13 horror in ‘The Boogeyman’, a relatively tame and predictable horror movie featuring a roster of one-note characters and uneventful jump scares.
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Director Ari Aster has described ‘Beau is Afraid’ as a “nightmare” - and to give him credit, that is an apt description, but not in the way that he probably intended. The film feels exactly like one of those incoherent fever dreams which you only half-remember after it’s over, and quickly forget as you go about your day.
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The Frankenstein monster or Prometheus legend has remained evergreen for a reason, but by juxtaposing it in the tumultuous world of racial inequality, ‘The Angry Black Girl and Her Monster’ gives an old monster some very new tricks.
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For fans of Gremlins, Critters, or Evil Dead but who crave the more modern storytelling touch of having a critical social issue in the jaws of a Cronenberg-esque fleshy Muppet, Appendage is a welcome addition to stream at home.
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‘Evil Dead Rise’ - the latest soft reboot of the storied franchise succeeds by finding its own campy yet terrifying place amongst not only the previous films in the franchise but in the horror genre as a whole. Continue for our exclusive SXSW review:
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Ghostface makes his highly anticipated return to the silver screen with Scream VI, a sequel that not only delivers the chills and thrills fans have come to expect, but proves this franchise doesn’t need its legacy characters to thrive.
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Daughter is certainly worth seeing if you’re a fan of thought-provoking thrillers. Your appreciation for subtlety and ambiguity will impact how much you like this film, but ultimately it is a captivating film in every respect.
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Joanna Hogg’s ‘The Eternal Daughter’ is a chilling subversion of the haunted house mystery, and the director proves that our own memories and experiences are much more unsettling than any ghosts could be.
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Mali Elfman’s feature length directorial debut, Next Exit thoughtfully navigates our complex relationship with life after death, suggesting that our lack of knowledge may be a good thing.
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