Though it has a seed of an interesting story, Ryan Kruger’s sci-fi comedy something or other would rather just overwhelm the viewer’s senses.
“Bram Stoker’s Dracula” may be comically over the top at times, but everyone involved put 100% heart and energy into it.
Shudder presents a wild Irish tale of bloodsuckers and brawling mayhem.
From meta commentary to social commentary, Wes Craven’s final film is a bundle of cinephilic sarcasm that was ahead of its time.
The avant-garde composing duo discuss their collaboration and building the unsettling soundscape of the Shudder original The Power.
A young nurse is given a terrifying assignment in Corinna Faith’s bleak but all too timely supernatural horror.
The remaining festival offerings in horror are satisfyingly gory, but some fall short in plot & characterization.
SXSW’s horror offerings start with a vampire thriller, ecoterror, and a three hour long documentary that flies by.
Shudder’s latest is a deeply silly horror-comedy that mostly succeeds in spite of itself.
IFC Midnight properly knows its audience for this chilling, but uneven exploration of sleep paralysis.
An interesting concept is wasted with shoddy special effects and indifferent performances.
Five years on, we look back at the film that almost made a Cloverfield universe possible.
Brea Grant writes and stars in a mostly-successful thriller about a woman trying to hold herself together as her world falls apart.
Dasha Nekrasova leaps out of the gate with an audacious, out-there horror debut as creepy as it is transgressive.
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.