horror

It’s best to let Dead Lover’s mish mash of genres, low budget, multi-role-taking performers, and off-the-rails shenanigans wash over you.

A heavy focus on the fears of fatherhood against a severely underdeveloped alien abduction plot leaves Descendent (2025) feeling incomplete. 

Tense, unique, and unafraid to let silence dominate, We Bury The Dead is nothing you’d expect and everything that makes a zombie story compelling.

 Amy Wang’s directorial debut, Slanted (2025) uses genre storytelling to capture a lived experience that resonates deeply.

If you’re interested in expanding your feminist horror viewing experience, dive into these horror titles that people haven’t tackled much.

Kelly Marie Tran, Miles Robbins, and Shal Ngo talk about Control Freak, which taps deep into generational trauma and the demons that arise.

The Parenting brings a couple and their parents to a remote rental for the weekend only for the haunted house’s demon to test their relationship.

Clown In A Cornfield is a great stab at the early aughts sensibilities, aesthetics, and comedy that we haven’t seen executed this well in a while.

Not only does Opus draw too much from the drying well of an increasingly tired horror concept but lacks the bite to make the venture worthwhile.

Despite its emphasis on control, Control Freak loses it by juggling different variables. There’s potential there, but it is delayed on launch.