horror
Heightened by its mirroring of current events, The Hall is an incredibly exhilarating ride you won’t want to get off of.
Entwined, from director Minos Nikolakakis, succeeds in its story, a slow burn that is hypnotizing, peeking the interest of its viewers.
Far from the dumpster fire many feared, The New Mutants is a much more mundane disappointment: a near miss.
Wilson Kwong spoke with director Alex Prieur-Grenier about his film 2011, premiering at Fantasia Film Festival 2020.
Overall, Blood Vessel isn’t going to change horror forever, but it is entertaining, especially the first hour.
Train to Busan Presents: Peninsula does not reach the heights of its predecessor, but it’s still a satisfying summer diversion.
While Uncle Peckerhead kind of falls apart at the end with too many twists, the journey is worth taking despite its destination.
The triumph of The Columnist goes beyond an intimate understanding of the problems of the digital age, to a solid grasp on how that culture makes monsters.
While reluctant to dive deeper into the effects of violence in the media, Random Acts of Violence offers plenty of fun to make it unmissable.
A Night of Horror: Nightmare Radio is a horror anthology curated by Nicolás Onetti and Luciano Onetti. The film consists of horror shorts made between 2012 and 2017.
Lovecraft Country is a knockout of a show, and one that is epic, terrifying, and relevant altogether.
La Llorona, the latest from Jayro Bustamante, is a tonally audacious and proudly solemn horror film infused with transfixing political weight.
Sputnik is a solid alien-driven thriller; it’s when it focuses on the more human elements to its story that it stumbles.
All and all, Good Manners is a flawed narrative with a good heart and powerful message at its core.
Amy Seimetz’s sophmore directorial effort is full of great performances, but never engages with the premise enough.