demon
When Evil Lurks proves itself a visceral horror that will get under your skin.
Neither horrific nor revelatory, The Last Exorcist brings little new to the well-trod table despite its best of intentions.
This telling of White Snake adds an action-fantasy plot to its romance story, and feels like a mesh of other fantasy films you’ve seen before.
While Luz has all of the trappings of a horror film of yesteryear, it is clear that Tilman Singer is an exciting new filmmaker to watch.
Soul to Keep is a horror tale about sadistic ritualism that, whilst having its heart in the right place, struggles to break free from the shackles of genre conformity.
With a minimal budget, Mara will satisfy an audience that enjoys jitters, with just enough scares that as you leave the theatre you might dread your next bout of sleep paralysis.
With adequate locations and a potentially interesting atmosphere, The Nun creates a darkly lit ordeal that is one silly “nun-sensical” roller coaster ride of jump scares.
Lacking the dirsired jump scares and trust in itself, Our House is a film that will now be stuck in limbo, too tame for modern horror audiences and not emotionally satisfying enough for others.
Vidar the Vampire shows the lack of change within the filmmaking community in regards to the portrayal of women on screen and further proves the necessity of the #MeToo movement.
While by no means without its faults, The Midnight Man, from director Travis Zariwny, is a good time horror film that fans of the genre will love.
