Reviews
‘Backrooms’ Review: An Empty Exercise in Liminal Storytelling
Kane Parsons may have hit it big with 'Backrooms,' but his debut feature is still an exercise in style without substance.
‘The Unknown’ Review: An Unnerving Body-Swap Slow Burn
With 'The Unknown,' 'Anatomy of a Fall' co-writer Arthur Harari directs a masterclass in unnerving tension.
‘Passenger’ Review: The Spirit of the ’90s Is Alive in Your Van
André Øvredal's 'Passenger' is a throwback to '90s horror that is always just clever enough to never overstay its welcome.
‘Obsession’ Review: Toxic Love Has Never Felt This Good
'Obsession' establishes Curry Barker as one of horror's rising stars - and, in a just world, would make Inde Navarrette a household name.
‘Faces of Death’ Review: Shudder’s Meta-Sequel Is Weaponized by Apathy
Daniel Goldhaber and Issa Mazzei's 'Faces of Death' strikes an uncertain chord, but there's no denying its power.
‘Exit 8’ Review: Meet Your New Favorite Liminal Space
Genki Kawamura's 'Exit 8' is more a thought exercise than an emotional journey, but that's enough to maintain our interest.
‘Hunting Matthew Nichols’ Review: A Solid Exercise in Docu-Horror
Markian Tarasiuk's 'Hunting Matthew Nichols' looks for inspiration in true crime documentaries - and it mostly works.
‘1000 Women in Horror’ Review: A Much-Needed Refresh of Horror Canon
'1000 Women in Horror,' the new documentary from Donna Davies and Alexandra Heller-Nicholas, returns women to the heart of horror.
‘Ready or Not: Here I Come’ Review: Better Living Through Bloodshed
Everyone's favorite bad-luck bride is back in 'Ready or Not: Here I Come,' the bloodier and sillier sequel from Radio Silence.
‘undertone’ Review: Even Great Sound Design Still Needs a Story
Ian Tuason's 'undertone' may be a masterclass in sound design, but it still fails to give us a story worth caring about.
‘The Bride!’ Review: Maggie Gyllenhaal’s Dull Attempt at Meta Monsters (and Mobsters)
Maggie Gyllenhaal’s ‘The Bride!’ is a vexing mash-up of monsters and mobsters with little to say about its disparate parts.
‘Diabolic’ Review: Uneven Balance of Religious and Gonzo Horror
Daniel J. Phillips's 'Diabolic' sets its sight on fundamentalist Christian groups but can never quite commit to a subgenre of horror.
