ghost
While Haunting of the Queen Mary may struggle to find its sea legs, it culminates into an epic voyage of terror and twists.
For all of its innovative mythology, humorous story beats, and well-fleshed-out characters, it plays as a bit of an oddity compared to a typical ghost story.
Anyone disappointed in what the remake of Suspiria came out to be would be remiss to pass up In Fabric.
Where the company has become an auteur-like entity synonymous with good, cheap thrills, The Keeping Hours just isn’t scary enough to live up to Blumhouse’s horror brand.
Followed, with its contrived shaky ghosts and shoddy script, is the millennial’s answer to The Shining and 1408, without the compelling stories.
Even though it promises a scary journey, Against the Night fails on all levels. The poorness of its plot, direction, and performances make this already short film more unbearable than it ought to be.
Despite strong leads and commendable technique, The Lullaby falls short of being a solid horror film due to its dull setting, convoluted story, and some unnecessary twists.
Demon House has a crawling sense of escalating paranoia, with witness accounts and medical testimonials, Zak Bagans presents a documentary that will have you believing this just might have happened.
The Spierig Brothers’ latest “based on a true story” horror movie Winchester is a cinematic checklist of every dreadful ‘haunted house’ cliche, every formulaic competent that’s been implemented by other, better genre entries.
It may have been sat on the shelf for three years, but Angelica is worth the wait- a slow burning period piece that’s quietly powerful.
Flatliners is a terrible remake of an already bad movie, whose basis is genuinely interesting but the vision poorly conceived.
Predictable, overbearing, and generic, Ghost House is a film that is lacking in all the essential ingredients that make up a great horror.
Personal Shopper is the rare film that is unclassifiable in terms of genre, refusing to neatly fit in to the preconceptions of a horror film, as well as lacking a distinctive explanatory reading.
It would be to put it lightly that this film’s reputation preceeded it. After years of people theorising about another sequel to Ghostbusters (1984), naively deciding to overlook the fact that Bill Murray didn’t want to work with Harold Ramis again, and Ramis’ recent death, a new film was announced. The only problem was that noted comedy director Paul Feig was put in charge.
After a brief hiatus with Fast and Furious 7, mainstream horror’s prodigal son James Wan has returned to the Devil’s Church of Jump Scares with a sequel to his paranormal blockbuster, The Conjuring. The main lesson he seems to have learned on his franchise-hopping action excursion is how to make things feel absolutely massive, and in following the golden rule of sequels, he’s applied that bigger-is-better ethos to The Conjuring 2. The ghostbusting duo of the first film – Ed and Lorraine Warren – are called to London to flush out some more housebound demons, but in an effort to raise the stakes over the first film, Lorraine is also faced with her own adversaries: