Review: Michael Chaves’ ‘The Conjuring: The Devil Made Me Do It’
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
Prano Bailey-Bond Visits Britain’s Video Nasty Era in ‘Censor’
“Had ‘Censor’ managed both Enid’s personal nightmare and wrestled more deliberately with some of the moral questions posed by the title, more viewers might have been inclined to initiate conversations about the horror genre’s traditions of transgression.”
You Must Be THIS OLD to Ride in George A. Romero’s ‘The Amusement Park’
“Romero’s movies have a workshop feel to them, which elevates the horror to a startlingly realistic terror as if it was being documented live.”
Review: Damian Mc Carthy’s ‘Caveat’
“Deeply unsettling and profoundly frightening, ‘Caveat’ is a remarkably assured debut for Mc Carthy and a real showcase for the talents of its small cast, particularly French as the tortured protagonist.”
Review: George A. Romero’s ‘The Amusement Park’
“‘The Amusement Park’ may not be Romero’s angriest film, but it’s one of his most deliberately disturbing…”
Review: John Krasinski’s ‘A Quiet Place Part II’
“‘A Quiet Place Part II’ depicts quietness as a strength, and the film’s release shows that the quietness of the past year can be resolved through the mutable, powerful sensibilities of cinema.”
Netflix Review: Zack Snyder’s ‘Army of the Dead’
“‘Army of the Dead’ is an algorithmic cleansing exhale in the wake of a whirlwind period in Snyder’s career. As a zombie movie, it’s a shallow, scattershot effort with interesting mythology ideas that don’t really go anywhere…”
Review: Pat Mills’ ‘The Retreat’
“While having gay leads is a refreshing inclusion in a genre that has historically excised or executed them, Mills’ movie is a toothless response to the ‘bury your gays’ trope.”
Review: Simon Barrett’s ‘Seance’
“Everything about ‘Seance’ is loudly, proudly feminine and female focused… if one didn’t know this was Barrett’s work, it could easily be mistaken for that of a female filmmaker, which is no small feat.”
Rose Glass Makes a Memorable Feature Debut with ‘Saint Maud’
“Sure, ‘Saint Maud’ can be called a horror film, but it is equally a psychological drama that gets a lot of mileage from a tried and true trope: the shifting power dynamics in a superior/subordinate relationship.”
