horror
Black Christmas is angry, terrifying, empowering even – all that surrounded with the threatening notes of holiday songs playing in the background and a stalker out to get you.
I See You is a well-crafted head-scratcher even if it doesn’t seem so at first.
The Soska Sisters film Rabid honors the basic premise of David Cronenberg’s original while meticulously crafting an identify of its own.
Michael Frank spoke with writer and director Adam Egypt Mortimer about the mental health, childhood and inspiration for his film Daniel Isn’t Real.
Generic in all the worst ways, Animal Among Us is poorly executed, feeling like a throwback to the worst of mid 2000’s horror.
The Gallows Act II is full of bad jump scares, laughable dialogue and is never very scary. Kevin Lee reviews.
The Walking Dead acts as a return to the toxic, abhorrent roots of the zombie genre, and presents a world where racism doesn’t exist.
In a compassionate ending, the season wraps up with a happy ending for all, a rarity for American Horror Story.
In his latest report from Monster Fest 2019, Alex Lines reviews the 1994 restored Tammy and the T-Rex and directorial debut Come to Daddy.
In her latest report from the Austin Film Festival, Kristy Strouse spoke with Bret and Drew T. Pierce about their film The Wretched.
We “listen in” on a conversation between huge Cabin In The Woods fans, Clement Tyler Obropta and Karen Pinilla as they look back on Drew Goddard’s 2011 horror.
In this episode of AHS 1984, we are given Richter’s background, completing the grisly characteristics of his damaged self.
Robert Eggers’ The Lighthouse is an abstract and surreal thriller which finds its grounding in its discussion of labor.
The world of filmmaking seems simple enough from the view of an audience, while Twitter…
Wounds is a work of unyielding dread – one of those misunderstood gems that comes along every so often, catching you off-guard with its skin-crawling concept and arcane atmosphere.