“Rebecca’s greatness stems from its faithful approach to the Gothic roots of du Maurier’s novel, foregrounding all of the most important themes like repression of the past and marriages full of conflict.”
“‘Murder in the Woods’ is a slight but entertaining offering, sold completely and committedly by a talented cast of fresh, new faces and with a bonus appearance by the always-welcome Danny Trejo to boot.”
“Even though Seimetz’s ‘ideological contagion’ might have its roots in coping strategies for depression and a range of mental health issues, the director works wonders by imagining how one might react upon learning about their imminent death.”
“‘Lapsis’ offers the intriguing and hopeful possibility that our technologically dependent future may not be so bad after all.”
“Even seen without the lens of current events, ‘Alone’ is a harrowing experience that earns its power by being uncomfortably credible.”
“Through a graceful use of Mozart’s music, ‘She Dies Tomorrow’ urges the audience to question their lives and unavoidable deaths.”
“When ‘Make Up’ reaches the light at the end of its twisted tunnel, its culmination is gratifying and sumptuously-realised.”
“The ideas present are intriguing, however The Rental’s ultimate staying power is questionable.”
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
“A haunting study of Grecian prophecies and inherited mental illness, ‘Relic’ makes beasts of the mind.”
“James’ arresting, emotional and attention-grabbing film understands that what’s most frightening is barely glimpsed and feels disarmingly normal.”
“‘The Beach House’ signals an exciting new star in horror.”
“Moss is nothing short of phenomenal in ‘Shirley,’ filling out her performance with a steady flow of poisonously perfect wisecracks, putdowns and insults…”
“Even though ‘The Psychic’ and ‘The Black Cat’ don’t exist as prominently in the cultural consciousness as ‘The Texas Chainsaw Massacre’ and ‘Halloween,’ there is a sense that the Final Girls do exist in the wider world of horror…”
“While ‘Teorema’ and ‘Visitor Q’ share a common DNA, what’s most striking is the way each film uses The Stranger. Both figures bring with them a kind of new order, as if they were missing puzzle pieces for the families that they integrate themselves into.”
“As a genre exercise, ‘Z’ shows promise for what Christensen might do with a higher budget.”
“Taken purely at its basest form, ‘Vivarium’ is a terrifying isolation horror movie that goes for the jugular.”
“Haley Bennett’s central performance is career-best work.”
“Relishing in its ability to wrong foot and thrill right to its final moments, ‘Bacurau’ is an unashamedly cinematic experience, with its makers playing in a sandbox of tropes and expectations, subverting them to put forward a radical and wholly essential message.”
“It is during the 70s that the disaster film’s most pure and admirable entries were made, bookended by two significantly different stories involving air travel fiascos.”