Editorials

December 23rd, 2021 • Jenn Adams

Jenn Adams rings in the holidays with an exploration of how the music in ‘Anna and the Apocalypse’ achieves pop nihilism perfection.

December 22nd, 2021 • Brian Keiper

Brian Keiper explains why Adam Leader and Richard Oakes’s ‘Hosts’ (2020) is a lean, mean piece of holiday horror.

December 17th, 2021 • Alex Hall

Alex Hall returns to Certified Forgotten to celebrate ‘Sheitan,’ Kim Chapiron’s queer deconstruction of Christmas rituals.

December 13th, 2021 • RC Jara

While not as well-known as the other slashers from 1981, Jeff Lieberman’s ‘Just Before Dawn’ is a standout in its own right.

December 7th, 2021 • Chris McMullen

Chris McMullen explores the short-lived interactive cinema trend with ‘Return to House on Haunted Hill,’ one of its best-known entries.

December 1st, 2021 • Sab Astley

Sab Astley explains why Daniel Liatowitsch & David Todd Ocvirk’s ‘Kolobos’ is an important link to James Wan’s ‘Saw’ franchise.

November 29th, 2021 • Christine Makepeace

Christine Makepeace finds a lot to love in Justin Dec’s ‘Countdown,’ a 2018 horror film about a killer smartphone app.

November 10th, 2021 • Kevin Sparrow

Kevin Sparrow pleads for more exposure for ‘The Girl in the Photographs,’ Nick Simon’s underrated 2000s slasher.

October 29th, 2021 • Roxana Hadadi

Film critic Roxana Hadadi explains how Mickey Rourke and Lisa Bonet find x-rated horror in Alan Parker’s ‘Angel Heart.’

October 25th, 2021 • Meg Shields

Film critic Meg Shields digs into Lukas Feigelfeld’s ‘Hagazussa,’ one of the most unsettling cinematic explorations of witchcraft ever made