horror
After an enormously successful debut with Get Out, Jordan Peele delivers another bold film with Us, and seems to be creating a whole new genre.
Greta is an acquired taste that will frustrate some viewers while others will revel in its campy absurdities.
Darren Aronofsky’s Black Swan and Luca Guadagnino’s reimagining of Suspiria reinvigorate the very concept of body horror.
The Amityville Murders is a film that should be avoided at all costs. It doesn’t succeed as a horror film, nor as a supernatural thriller.
If you looked past the gaping plot holes and equally detestable jump-scares, there is a scare or two to be had in The Prodigy.
Happy Death Day 2U is like watching a million ideas hit the screen at the same time, progressively moving itself to shakier ground before losing any sense of narrative necessity.
The Golem is closer to a moody thriller than a horror – and although thematically interesting, still lacks the bite it sorely needs.
Although the film ultimately posits that there is far more going on than meets the eye, Braid has more than outworn its welcome.
In our seventh report from Sundance Film Festival 2019, we cover Hail Satan?, Luce, Adam, Sweetheart and Corporate Animals.
Dan Gilroy has stepped out of his comfort zone with satirical horror Velvet Buzzsaw – and the results are mixed, to say the least.
Piercing is an absolutely weird, kinky, stylish film that might not be to everyone’s taste; it is guaranteed to thrill some filmgoers and offend some others.
My next report from Sundance 2019 finds the festival really hitting its stride. An artsy…
Maria Lattila examines how generic slashers actually hide a hugely empowering element, the Final Girls of horror fulfilling and enabling feminine power and potential.
Proving the undead ain’t quite dead just yet, One Cut of the Dead remind us that even though some ideas might sound generic or overworked, it’s ultimately up to the execution
A thriller like Escape Room is a good time so long as you switch your brain to “just go with it” mode.