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.
Shudder’s latest is a deeply silly horror-comedy that mostly succeeds in spite of itself.
An interesting concept is wasted with shoddy special effects and indifferent performances.
Brea Grant writes and stars in a mostly-successful thriller about a woman trying to hold herself together as her world falls apart.
Shudder’s latest is at least as much a relationship drama as a monster movie, but somehow isn’t bad.
The Shudder original turns the creation of “Frankenstein” into bad psychodrama theater.
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.
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.
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.
A grieving couple set about a dark and gruesome plan to revive the spirit of their young grandson in this creepily effective horror-comedy.
Yoon Een-kyoung’s haunted house chiller falls short of its K-horror expectations.
Timo Tjahjanto brings his maximalist sensibilities to a followup that tries to be several different horror movies at once.
Though it loses its steam in the second half, Shudder’s adaptation of Stephen King & Joe Hill stories is perfect holiday viewing.
The Shudder exclusive moves from promising to prosaic to problematic in its runtime.
Ryan Spindell’s anthology isn’t the deepest slice of horror, but its glossy sense of fun carries it along.