Review: Kevin Abrams’ ‘I Got a Monster’
“‘I Got a Monster’ is incredibly evocative, the dissonance between the harshness of Baltimore’s architecture and old school activities providing yet another layer to the devastating story.”
Review: Matt Bettinelli-Olpin and Tyler Gillett’s ‘Scream VI’
“One of the leanest, meanest and most violent ‘Scream’ sequels yet.”
Review: Michelle Garza Cervera’s ‘Huesera: The Bone Woman’
“In a world where Roe v. Wade has been struck down, and the rights of both women and LGBTQ+ people are consistently under attack, Cervera’s story feels especially vital.”
Review: Gabriel Bier Gislason’s ‘Attachment’
“Although ‘Attachment’ is undeniably a horror movie, it’s also a sensitively played queer romance and a dissection of the way certain women bind themselves to strict edicts as a kind of self-protection.”
Sequels Don’t Suck: 25 Years Later, ‘Scream 2’ Is More Potent Than Ever
“‘Scream 2’ hints at our future obsession with true crime and the spectacle of pushing victims to relive their trauma over and over (a full two decades before these ideas would become mainstream).”
Interview: ‘Christmas Bloody Christmas’ Filmmaker Joe Begos
‘Christmas Bloody Christmas’ Interview: Joey Keogh discusses the 2022 Shudder movie with filmmaker Joe Begos.
Review: Joe Begos’ ‘Christmas Bloody Christmas’
“‘Christmas Bloody Christmas’ is on a bigger scale than virtually everything else Begos has done to date, with terrific stunts and locations, and it’s heartening to witness his continued growth.”
Review: Noah Segan’s ‘Blood Relatives’
“‘Blood Relatives’ is constantly in conversation with past vampire works without feeling the need to signpost its references. Segan is confident in the material, both onscreen and off.”
Review: David Gordon Green’s ‘Halloween Ends’
“‘Halloween Ends’ succeeds or fails on the strength of Campbell’s performance, and the young, relatively new performer is a revelation.”
Review: Joseph and Vanessa Winter’s ‘Deadstream’
“‘Deadstream’ is an inventive, unpredictable and hugely charming found footage horror film, but it’s also a clever indictment of internet culture with a gripping, vanity-free lead performance from its co-writer/director.”
Review: Christian Tafdrup’s ‘Speak No Evil’
“‘Speak No Evil’ is a horror-comedy of manners, and the performances are solid throughout, particularly from the children, but the movie’s cynical, meaningless and utterly contrived conclusion feels like a cheat after everything that’s come before.”
Review: Bertrand Mandico’s ‘After Blue’
“‘After Blue’ isn’t completely impenetrable, and it is lovely to look at, but if there’s a strong feminist statement being made — underneath the flagrant nudity and sexual escapades — it’s buried pretty deep.”
I Love You, Man: Celebrating ‘Superbad’ and Its Embrace of Male Friendship
“‘Superbad’ has stood the test of time, and will continue to do so, because there are so few movies that tackle male friendships in such a brutally honest manner, with care and attention, and without falling back on sarcasm once all is said and done.”
Review: Charlotte Colbert’s ‘She Will’
“‘She Will’ is an impressive introduction to Colbert as a filmmaker, not to mention a great showcase for what Krige can do with a leading role.”
Review: Emily Branham’s ‘Being BeBe’
“‘Being BeBe’ is full of heart, soul and wit — much like the subject herself — and provides a fascinating glimpse behind the curtain for fans and curious newcomers alike; a joy-filled, life-affirming must-watch.”
Review: Adrian Shergold’s ‘Cordelia’
“‘Cordelia’ is generally easier to appreciate for what it’s trying to do rather than what the film actually achieves.”
Review: Maxwell McCabe-Lokos’ ‘Stanleyville’
“An ambitious failure is often more interesting than a safe success, and what ‘Stanleyville’ lacks in narrative propulsion it makes up for with sheer audacity.”
He’s Not Even from ‘Round Here: ‘Hot Fuzz’ at 15
“‘Hot Fuzz’ has remained a key part of the zeitgeist thanks to its specificity, but also because the movie celebrates doing the right thing, working together and being a good person above all else.”
Review: Mattie Do’s ‘The Long Walk’
“‘The Long Walk,’ the latest from Mattie Do — Laos’ first and, so far, only female director — understands that for time travel to make sense, all one has to do is present it as is. For Do, it’s a feeling more than a fact.”
Review: Richard Bates Jr.’s ‘King Knight’
“‘King Knight’ isn’t terribly substantial overall, with much of the central premise built on being weird for weird’s sake.”