David Bruckner’s Hellraiser reboot is a flattened riff on the tale for a flattened cinematic culture.
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A ranking of each film in the iconic horror series, Halloween, which digs into the series’ strengths and weaknesses. Updated to include Halloween Kills and Halloween Ends.
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Examining the 11 films in the Hellraiser franchise and exploring their shared thematic interests and narrative failings. Updated to include the 2022 reboot.
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Anders looks at the five films in the Exorcist franchise and looks at how each one expands on the original.
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In Nosferatu, the corrupting power of the vampire is linked to that most symbolically potent infectious disease, the Black Death.
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Morbius is a real superhero movie in the way that airplane food is real food.
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Roger Corman’s The Masque of the Red Death is more effective as a late-night Gothic thriller than as an adaptation of Edgar Allan Poe’s famous short story.
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The Brothers discuss, among other things, the merits of “elevated horror,” schlock, gore, silly ideas, and the nature of the horror genre.
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Shinya Tsukamoto’s Tetsuo: The Iron Man is a hallucinogenic fever dream made by a mad man.
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Last Night in Soho has an incredible premise and many excellent features, which makes it especially disappointing when the film goes off the rails.
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Ti West’s Pearl is a terrific showcase for Mia Goth, as well as clever franchise extension to X from earlier this year.
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Using animation to recreate the subjects’ memories, Eternal Spring considers the hijacking in 2002 of broadcast TV by a group of Falun Gong practitioners in northeastern China.
Zach Cregger’s trendy new horror movie plays with our expectations of horror in funny, weird, truly bizarre ways.
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Werner Herzog’s Theater of Thought is as much a detour into his mind and way of thinking as a documentary about the science of the mind.
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Joanna Hogg’s The Eternal Daughter is a ghost story that plays more as confessional autofiction than horror film.
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Hlynur Pálmason’s Godland is a beguiling, beautiful film about the terrifying power of nature.
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Anton ranks and discusses all four Christopher Reeve Superman movies.
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Baltasar Kormákur’s Beast is effective late summer B-movie entertainment with a great Idris Elba at its centre.
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Halina Reijn’s horror comedy/satire is as vapid and repetitive as the social media feeds that inspired it.
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20 years on Shyamalan’s film is still an effective extraterrestrial thriller, but it’s in the human emotions and performances where it really shines.
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