As more and more classics of literature and film enter the choppy waters of public domain, low-rent features like new horror-comedy It’s a Wonderful Knife…
Jennifer Reeder’s new film Perpetrator has received some very strong reviews at Berlinale, and to be honest, it takes a while to figure out exactly…
Of all horror films, no work is referenced, paid homage, or just plain ripped-off more than The Shining. Most films are satisfied to take a…
Quicksand is yet another entry in the suddenly ubiquitous horror subgenre of forced couples’ therapy, where a contentious pair are placed in a diabolical —…
Now with three feature films to his name as writer-director, Ted Geoghegan has carved out a nice niche for himself as a go-for-broke indie horror…
In his canonical text Hollywood Genres, author and theorist Thomas Schatz proffers a still useful distinction, that being between “the film genre and the genre…
A Wounded Fawn is a delightfully weird and lo-fi work of playful horror. There’s not much left to do with serial killer narratives these days, but…
V/H/S/99 is probably the biggest film in the series, mostly eschewing scares in favor of stylistic intensity. Almost a year to the day after 2021’s V/H/S/94,…
Dark Glasses ends Argento’s decade-long hiatus and even longer stretch of mediocre works with a return to form for the Italian master. It’s been a…
Deadstream takes a while to get going, but the Winters ultimately deliver a smart, playful found footage movie that proves stylistically a cut above. Joseph and…
Sissy wants to have its cake and eat it too, but all of its many ingredients don’t add up to anything new or satisfying. Viewers of…
Saloum is an absolute blast, packed with pleasant genre surprises and announcing a major new filmmaker in Jean Luc Herbulot. Part of the joy of…
Who Invited Them visits well-worn territory, but its novel navigation of these familiar trappings makes for an effectively discomfiting viewing experience. The Covid pandemic and…
Glorious is stylish and occasionally pretty funny, but its lightweight genre pleasures are entirely undermined by a bafflingly stupid final twist. It’s hard to completely…
What Josiah Saw exhibits Grashaw’s considerable formal chops, but there’s an inherent silliness pestering its core and its ending undermines some of its power. The past…
Though its thematic threads begin to fray, Moloch remains a tantalizing evocation in primal fear that explores the allure behind myth and symbol. Idolatry has remained a…
Good Madam is elevated, theme-heavy horror done right, delicately refracting its discursive concerns through the lens of a haunted house tale. The lingering consequences of…
Mad God is a profoundly unique work from Phil Tippett’s frenzied mind, a troubled, personal, and wholly original statement of the aching human heart. More famously…
Offseason is an undeniably slick film, but one too encumbered by bad aesthetic impulses and a too-shabby framework. Thirty minutes into Offseason, Marie Aldrich (Jocelin Donahue)…
The Found Footage Phenomenon is a bland, talking head-heavy dud that feels like an incomplete Wikipedia article on its subject matter. If anything, new documentary…
The Twin is a thoughtless, derivative bit of horror pap that feels like it was written by a bot. Utterly generic in every conceivable way,…