Peter Strickland’s latest is an appropriately bizarre giallo homage, complete with a score that might as well have been written by Goblin.
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At long last, Matt and Jim do a listener-request episode, and it’s a doozy. How fitting that on this Easter Sunday, we release a podcast featuring a villain known as “Easter Gay.”
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The Vigil adds a relatively strong and low-key entry to the decidedly mixed bag of the Jewish demon horror subgenre.
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Not to be confused with the James Wan-produced mess that we reviewed a while back, Jayro Bustamante’s film gives the well-worn legend a politically-conscious twist.
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In Matt’s words, “Praise be, praise be.” Saint Maud has finally arrived, and it does not disappoint.
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The deft noir flourishes and political subtext of Jeff Barnaby’s zombie thriller complement, rather than detract from, the delightfully gooshy practical effects and post-apolcalyptic chaos.
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With his latest film, Yeon Sang-ho has achieved a zombie hat trick, even by Matt’s stringent standards for the subgenre.
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Christopher Landon’s “Freaky Friday the 13th” genre riff is not nearly as clever as he thinks it is.
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Justin Benson and Aaron Moorhead’s latest may not have been the true-blue horror film we anticipated, but it’s still a stylish good time with two charismatic lead performances from Anthony Mackie and Jamie Dornan.
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In spite of one particularly striking spooky image and a mercifully grounded portrayal of autism, Come Play is an uneasy amalgam of too many incompatible genre tropes.
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