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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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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If there is a recent slasher to watch from this year to kick off the Halloween season, it is Terrifier 2. While many may argue about detrimental shortcomings of the film, Director Damien Leone displays his vision and direction is sharper than his killer clown’s plentiful weapons.
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David Bruckner’s Hellraiser is a perfect tribute to the Clive Barker original. It proves Bruckner can most certainly work within the landscape of a higher budget without losing any of his charm and trademarks to his filmmaking which makes him so unique and exciting.
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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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Pearl never takes itself too seriously, and just has a fun time with itself and with the audience. The racy content in X isn’t forgotten here, and despite it being 1918, pornography finds a way to impact the titular character just as it did in the first film.
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In addition to being funny and horror done right, Barbarian is extremely smart. Where most horror movies like to put monsters on full display, this film is more interested in exploring where those monsters come from.
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Whether it’s a packed theatre or an overly-giggly sleepover, Orphan: First Kill is far too much fun to experience alone, and seems like a waste to watch at home, as the movie is filled with moments that beg to be seen with a rowdy group. While it still may be months away from the autumn season, this is a great film to snuggle up at home and put on Paramount+.
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The Black Phone leaves a lot to be desired and it is good to see director Scott Derrickson back in his horror element, trying to craft something that haunt us long after we have left the theatre. But with a muddled script and uneven performances, this is a middle of the road horror film that could’ve been so much more but ends up being fine in the most disappointing fashion.
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There are few films of the modern era that feel as authentically retro as Ti West’s latest horror flick X. Whether that’s the distinct visuals, crisp sound design, overly enthusiastic performances, or the waves of blood and guts, almost every aspect of X feels as though it’s been pulled directly from the 1970s.
Read More!['Sissy' Review: Nothing Timid About This Topical Aussie Indie [SXSW 2022]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1649080994100-QO6V9S0I6KUN3DOPC37B/Sissy-3.jpg)
One of the most enjoyable aspects of attending a festival like SXSW, is you often find diamonds in the rough; opportunities given to talented filmmakers waiting to be discovered., especially within the genres of horror or science fiction.. Sissy, is just such a gem.
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‘Texas Chainsaw Massacre’ is a colossal disappointment. It completely dismisses everything that the franchise has done successfully up to this point, crafting a pointless and underdeveloped narrative that acts purely as a backdrop for brutal violence and shoehorned inclusion of basic, nostalgia-driven character work.
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After a decade, the beloved horror franchise ‘Scream’ and the iconic Ghostface have returned to the big screen. Luckily, the wait has proven to be worthwhile, as directors Tyler Gillet and Matt Bettinelli-Olpin in this fifth entry deliver the goods fans have come to know and expect from the series.
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Hot off his Oscar win, Guillermo Del Toro is back with a new, expectedly dark and alluring film in the form of ‘Nightmare Alley’. Based on the novel, of the same name, and inspired by the Edmund Goulding 1947 film, del Toro has mustered up a strikingly atmospheric noir that effortlessly transports spectators into the filmmaker’s dark vision.
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Ghostbusters: Afterlife” feels more like a sequel to “The Goonies” than a “Ghostbusters” film, and that’s when the movie truly shines. While the callbacks to the original film didn’t really work, Afterlife still manages to be a good time thanks to the lead performances of Carrie Coon, Paul Rudd and McKenna Grace.
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The followup to 2018’s ‘Halloween’ offers a much more brutal and superhuman Michael Myers than we have ever seen before! But does that translate well in this franchise? This second film in the most recent reboot may seem fun at first glance but is really just a bloated mess due to a poor script and some very lacklustre acting.
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Whether it’s a spiritual appreciation for the animal, the urge to hang one up above a fireplace, or the fear of becoming a victim on its kill list, there is a very real American fixation with deer; it’s a twisted, overly-serious obsession with of the horned animal that serves as the central terror Scott Cooper’s widely anticipated “Antlers”.
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