horror
Tigers Are Not Afraid is a standout film beneath the phantasmagorical flourishes is a story that is all too grounded in reality.
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.
Scary Stories To Tell In The Dark is an above average horror with inventive and fun monsters, but not enough character development.
In our first recap from this year’s MIFF 2019, we look at the films The Invisible Life of Eurídice Gusmão, Koko-di Koko-da and Tommaso!
By presenting a comedy with the formal elements of a slasher, Camp Wedding fails to be interesting or entertaining within either genre.
Delirium is interesting enough to warrant our attention, but ultimately the route to the big “reveal” veers off course.
Sometimes simple is all you need to make a fun movie, and with its quintessential man vs. nature thriller, we need more simple movies like Crawl.
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.
Darlin’ is both a heartfelt story of growing up and making friends and a gory depiction of the dangers connected to men believing they are above the law and God.
While not as subversive as Holland’s cult classic, Klevberg’s polished Child’s Play is a delightfully vicious ode to its campy origins.
Michael Dougherty’s films sneakily inject themes of religion in the horror narrative. Danny Anderson takes a look at how two of his films subvert Christianity.
Annabelle Comes Home features great performances from its young cast, but the story is more a miss than a hit. Kevin Lee reviews.
The Dead Don’t Die was a huge disappointment with too many plotlines and characters for both the dead and undead to handle.
Whether you’re an avid theatre-goer, an actor, or someone who enjoys dark comedies, there will be something enjoyable in Ghost Light.