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With his horror film Sinners, Ryan Coogler proves himself once again as a master filmmaker with original and bold vision.
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.
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Gore Verbinski returns with Good Luck Have Fun Don’t Die, we talked with him about the film’s overt stance against AI, and his return.
A slow-burning submarine voyage into cosmic dread, Iron Lung, directed by Mark Fischbach, fundamentally trusts its audience.
Return to Silent Hill not only feels misguided and uninspired in form, feel, and function, but it also manifests as a new low for the video game adaptation.