Dasha Nekrasova leaps out of the gate with an audacious, out-there horror debut as creepy as it is transgressive.
horror
While the first movie in the series was stylish & unexpectedly moving, it was tainted by cheap, empty sequels that forgot what made it special.
Shudder’s latest is at least as much a relationship drama as a monster movie, but somehow isn’t bad.
Rose Glass writes and directs an unforgettably creepy story about a troubled young nurse’s efforts to save her patient’s soul.
The Shudder original turns the creation of “Frankenstein” into bad psychodrama theater.
Carlson Young writes, directs and stars in a baffling horror-fantasy about a young woman who disappears into an elaborate alternate universe
Prano Bailey-Bond makes her debut at Sundance with a chilling ode to the video nasty, featuring a killer turn from Niamh Algar.
Sean Ellis’ werewolf period piece is a humorless medley of conflicting approaches that somehow ends up dull.
Buoyed by an excellent lead performance, Frida Kempff’s psychological horror is harrowing, but ill-served by a weak ending.
Ben Wheatley’s pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments.
Shudder’s remake of the 1981 cult horror focuses more on the titular queen’s victims, but is still a gory good time.
The latest Shudder original is a clever homage to movies of the past, but quickly loses its focus.
David Prior’s overlong occult horror is stylish but suffers from sluggish pacing and a lackluster hero.
The M. Night Shyamalan executive produced series continues to serve up spooky atmosphere, but quickly loses its way.
Vincent Paronnaud’s over the top slasher film wants to say something about misogyny while treating its female lead as an object to be abused.
Netflix’s campy, grimy retelling of the teen witch tale reaches its end, dutifully sending off its characters before overstaying their welcome.
Greg Nicotero writes & directs a disappointingly juvenile collection of horror cliches & well-tread jokes.
Aaron B. Koontz’s horror-western is a dusty, frightfully dull collection of cliches.