horror
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.
Horror classics When A Stranger Calls (1979) and When A Stranger Calls Back (1993) are being re-released on BluRay. Alex Lines takes a look.
With a multidimensional backcatalog, it’s difficult to pigeon-hole eccentric body horror director Stuart Gordon. We’ve given it our best shot
We spoke with Morocco Vaughn, a Chicagoan filmmaker whose directorial debut Mollywood has just been released to digital and on-demand.
In his first recap from the 2019 Sydney Film Festival, Alex Lines reviews Saturday Afternoon, Synonyms and Why Won’t You Just Die?
A film that is not enjoyed so much as processed, Midsommar is a rare experience that is not to be missed. That being said, you absolutely cannot skip it.
While it may stumble under the weight of its own plot, Recovery is flawed, but it’s fun with moments that are really worth checking out.
Endzeit (Ever After) is a breath of fresh air to see that there can still be originality in a tired troupe, a refreshing take on the apocalypse.
With poor dialogue and a failed execution, Hallowed Ground is a massive disappointment and just might be one of the worst films of 2019.
While Head Count shows potential and has some really good high level thoughts, there’s just not enough scares to bring the film to life.