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Witchboard (2025) lacks an identity that its cult film predecessor nailed, proving that it won’t reach cult status anytime soon.
Lured in with the prospect of tentacles, Addison Heinmann’s Touch Me is much more than its tantalizing tidbits, offering equal humor and gore
Strange Harvest is a frequently engaging experiment that doesn’t get the desired result due to the undercooked nature of its storytelling.
Violent, bloody, dark, and yet deeply funny, Zach Cregger’s Weapons (2025) is the best horror film of the year so far.
Blumhouse Games’ Eyes of Hellfire is bringing a co-op title to the publisher’s library and it looks like the gothic horror you’ll need.
Ick blends creature feature, goofy farce, and genuine message about being authentically yourself in an irresistibly anarchic blast.
Haunted Mountains: The Yellow Taboo has an incredibly strong first half, but gets lost in the weeds as it navigates its way to its ending.
The constant state of ambiguity and stress-inducing secrecy that permeates HELLCAT makes for an intense viewing experience.
Korean zombies continue taking over Netflix with All of Us Are Dead Season 2 cast released as production begins.
Hold The Fort is so-silly-it’s-kind-of-stupid levels of fun. From beginning to end, even in the most violent situations, the humor never stops.
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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.