The kind of fun, genre studio fare that doesn’t get released in theaters anymore, #Alive is not revolutionary but does well enough with its premise.
A step backwards in horror that relies on its characters making all the wrong choices at exactly the wrong moments.
A high-concept horror that, while not entirely successful, is remarkable for sticking to its concept to the bitter end.
There’s material here for good horror, but it lost me along the way.
Bacurau starts as an intriging mishmash of genres and styles, but devolves into empty action and noise.
Leigh Whannell and Elisabeth Moss have teamed up to reinvent The Invisible Man as an effective representation of gaslighting and online abuse.
Deliberately, unabashedly ugly, The Lighthouse is not an easy watch, but a striking exercise in claustrophobia that is sure to leave a mark.
Underwater is a lean, relentless horror-thriller that barges into the screen, does its job and then barges right out again.
Who can resist a chance to gawk at beautiful Gothic mansions and expensive dresses while coming out in favor of overthrowing the rich?
Midsommar lived up to my great expectations in the best way possible, which is to say, it displays a lot of the genius that made Hereditary great while breaking brand new ground, never once feeling like a continuation or a retread.