horror
Soul to Keep is a horror tale about sadistic ritualism that, whilst having its heart in the right place, struggles to break free from the shackles of genre conformity.
Episode 6 was the episode we have all been waiting for – the “Return to…
Killer Kate! is silly and toneless – although flawed, it may be the calling card for debut filmmaker Elliot Feld for more suitable projects to come.
As a work of storytelling, Guadagnino’s reimagining of the canonical giallo is a boring mess with higher thematic aspirations than it’s able to realise.
I Still See You is another entry to the endless array of young adult fare, and it’s a near flop that doesn’t look to be boundary-defying, instead playing it safe.
Carefully crafting within the episode through deconstructed time, “Boy Wonder” is the episode American Horror Story: Coven fans have been waiting for, setting up the perfect return for Murder House.
Followed, with its contrived shaky ghosts and shoddy script, is the millennial’s answer to The Shining and 1408, without the compelling stories.
In an age where horror options are plentiful this time of year, Hell Fest’s derivative thrills almost feel insultingly disappointing.
We got the chance to speak to director Yann Gonzalez about his new film Knife + Heart after its US premiere at Fantastic Fest.
While last week’s episode was powerful, “Could It Be…Satan?” came in this week with a whisper, merely setting up for episodes to come.
Climax is an oddly boring affair, that shows Gaspar Noe has little of substance to offer when divorced from more offensive subject matter.
The third episode of American Horror Story: Apocalypse is a biblical and a grim fairy tale, delivering shock and unpredictability, as the Coven arrives.
Polterheist fails to succeed as a comedic or horrifying film, finding no progression of plot but rather further perpetuates racism, misogyny and homophobia.
Patient Zero has many of the elements of a good movie, just put together in a janky and unfortunate manner.
Gareth Evans delivers another gem with Apostle, and the Blumhouse-produced Cam is a satisfying watch despite its weak payoff.