In a landscape crowded with thrillers about obsession and celebrity, Jimmy Warden’s Borderline tries to carve out its own space, mixing ‘90s nostalgia, dark…
When Don (Shea Whigham) gets out of prison, the job he had thought was all set up for him upon release falls through and…
As a filmmaking duo, directors Justin Benson and Aaron Moorhead have left a lasting impression in carving out their own little niche of low-fi…
“Someone’s inside.” These two words, uttered with ominous clarity, spur Jason Yu’s invigorating debut, Sleep, into malevolent and mysterious somnolence; for in the world…
There’s a difference between a breakfast of scrambled eggs (with sausage, tomatoes, and mixed peppers) and a proper omelet. The combination of the same…
Horror movies often demand that viewers to extend a generous amount of leeway when it comes to logic. Does it make sense that the…
With all the various traumas and psychological afflictions on which character-driven horror has touched in recent years, it was only a matter of time…
Hunt proves too twisty for its own good, failing to deliver on the promise of its early going. Hunt, the directorial debut feature of actor…
Piggy is a startlingly visceral and bloody affair happy to indict and wreak revenge upon a toxic modern society. The pros and cons of virtual…
You Are Not My Mother is appealingly steeped in the folk-horror tradition, but has a suffocating visual aesthetic and the unfortunately distinct feel of a…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists…
Mickey Reece makes idiosyncratic, uncategorizable films, chamber horror Agnes is his best film to date. Prolific Oklahoma underground filmmaker Mickey Reece is out there blowing up…
Mandibles is a profoundly audacious film, moronic and masterful in equal measure. Perhaps the most unbefitting title to arrive in the middle of a global…
First Date endows its stock premise with a zany amateurism that is simultaneously cool and cringeworthy. First Date, the debut feature of directorial duo Manuel…
The Evil Next Door forgoes character development and clever plotting in an effort to manufacture cheap scares. Is there anything more boring than a…
Rarely has horror felt as inert as it does in the tedious Censor. The opening credits to the new horror film Censor feature a…
Riders of Justice finds director Jensen hedging between the dank feels of his early scriptwork and the weirdo vibes of his later directorial output, to…
Held manages to best Cluff and Lofing’s The Gallows, but it still an abysmal, problematic, and tension-free failure. The new marriage-in-peril thriller Held comes…