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…
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…
Saloum is an absolute blast, packed with pleasant genre surprises and announcing a major new filmmaker in Jean Luc Herbulot. Part of the joy…
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…
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…
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…
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…
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…
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…
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…
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…
The Twin is a thoughtless, derivative bit of horror pap that feels like it was written by a bot. Utterly generic in every conceivable…
The Sadness delivers cartoonishly gory entertainment, but is less successful in delivering the Romero tradition of meaningful societal indictments. Canadian director Rob Jabbaz shot…
Virus: 32 isn’t reinventing the zombie film wheel, but its careful attention to craft and precise formalism mark this effort near the head of the…
The Cellar is far too bogged down in the why of its haunted house conceit, deferring thrills in its dull march to an inevitable conclusion. Brendan Muldowney’s…
Night’s End is a Frankensteined mess of horror movie modes that never achieves any formal or thematic cogency. Jennifer Reeder has always gravitated toward highly…
The Seed offers plenty of gooey, gloopy genre fun, but is ultimately too scattershot and arrhythmically paced to fully recommend. There’s always room out there…
Hellbender is the best kind of DIY effort, technically accomplished and on the verge of transcendent horror. 2019 introduced genre audiences to The Deeper…