Fantastic Fest 2024: ‘Apartment 7A’ provides devilish backstory for ‘Rosemary’s Baby’
Natalie Erika James brings fresh eyes to the iconic story.
Bee Delores
Editor-in-Chief of the Badlands, spinning those B-Sides. Love Parks & Rec. Addicted to high-priced coffee drinks, alt-country and synth-pop, and never know when to quit. Got three cats named Jake, Olivia and Fitz --and they don't like you very much.
Fantastic Fest 2024: ‘The Draft!’ aims for super meta but lacks real punch
Yusron Fuadi’s new film proposes interesting concepts but doesn’t deliver.
Review: ‘The Shade’ offers thought-provoking thesis on suicide and grief
Tyler Chipman’s feature debut goes heavy on the metaphor.
Fantastic Fest 2024: ‘Binary’ is a poignant trans tale
Bronsgeest addresses gender identity and the struggle to exist in remarkable ways.
Review: Bertie Newman pieces together broken shards with ‘Precipice’ EP
Newman’s new EP is a brutal depiction of suicide and grief.
Premiere: Megan Brickwood yearns for change with ‘Nothing New’
Brickwood asks for a cleansing.
Interview: Tom Barrett revels in plaintive musings
Barrett discusses “Honest Eyes” and his new album.
Fantastic Fest 2024: Here are 5 films we’re most hyped for
From body horror to a slasher musical, here are a few films we’re excited to see.
Interview: ‘Ganymede’ filmmakers talk Christian extremism and queer horror
Colby Holt and Sam Probst discuss their new queer horror film.
Premiere: Sarah Pierce paints vivid landscape with ‘Blessed by the West’
Pierce’s performance is a majestic snapshot.
FrightFest 2024: ‘The Dead Thing’ dies a slow death
Elric Kane’s feature succumbs to a cold death.
FrightFest 2024: ‘Fright’ emerges as among the festival’s best features
Warren Dudley’s new feature is a film lost to time.
FrightFest 2024: ‘Never Have I Ever’ delivers twists, turns, and an explosive finale
Damon Rickard’s debut shows great promise.
FrightFest 2024: ‘Video Vision’ botches its trans subplot
Michael Turney fails on almost every single level.
FrightFest 2024: ‘Traumatika’ features body-mangling imagery and strong lead performances
Pierre Tsigaridis’ second feature kills.
