Director Casper Kelly reminds us how deeply unsettling ‘90s childhood shows were by simply adding a horror prism to mascot figures in his feature directorial debut, ‘Buddy’.
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While Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.
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While not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.
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Refn, the renowned Danish auteur’s returns with his first feature film in a decade, coupled with his signature impressionism in ‘Her Private Hell’.
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Kane Parsons breaks into the Hollywood scene by adapting his own ‘Backrooms’ YouTube series into a surprisingly intelligent and aesthetically thoughtful feature film.
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Lee Cronin may be slightly inspired by Sam Raimi's work in his take on ‘The Mummy’, but his film remains playful and appropriately disturbing, taking audiences in frequently unexpected directions.
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Oz Perkins has yet to make something worthwhile in the opinion of our Maxance Vincent, but with his sixth feature, ‘Keeper’, the film could be the worst project he has ever helmed.
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For better or worse, ‘The Oval Portrait’ is the exact sort of film which a Hammer horror fan will appreciate.
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Ultimately, despite a strong premise, ‘Him’ ends up throwing a Hail Mary, which, if not fumbled, undoubtedly could have been more interesting than the end result.
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Danny Boyle and Alex Garland re-team for an effective return to their 2000’s classic in ‘28Years Later’. But was this almost three decade wait, worth it?
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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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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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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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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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