‘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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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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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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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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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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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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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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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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Neil Marshall makes his best movie in a long time in The Lair. While it may not satiate fans of serious, character-driven cinema, it can appease those looking to switch their brain off an enjoy a ride for a little while.
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V/H/S/99 is the fifth instalment in the cult classic found-footage horror anthology V/H/S series. While there is certainly some content to enjoy here, this latest outing fails to stand out and do anything new or notable.
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Halloween Ends is the unlucky thirteenth installment in the Halloween slasher film franchise, and the culmination of the Blumhouse legacy sequel trilogy. Unfortunately, the film suffers comprehensively with a thin plot, poor writing, mismanaged story arcs, inconsistent performances, and a failure to truly and effectively conclude the Myers saga.
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Smile is a supernatural psychological horror film from Paramount that offers crafty scares, suspenseful atmosphere, and a relevant message that is largely held back by a derivative plot, a so-so script, and a tiring runtime.
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