Category: Horror Movies
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FrightFest 2026: ‘Bad Karaoke’ makes for a good time
Haunted Objects might be the most undervalued horror subgenre. Rubber, Attack of the Killer Tomatoes, Killdozer, Killer Sofa, and Death Bed: The Bed That Eats are pure cinema. Out of FrightFest, Chris Lightbody and Robert J. Steinmiller Jr. throw their proverbial hats into the ring with their new feature, Bad Karaoke, about a killer karaoke…
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FrightFest 2026: ‘Dracula: The Night Around Us’ delivers fresh spin on the Bram Stoker classic
Out of FrightFest, Chris Schwab’s Dracula: The Night Around Us offers a thrilling new interpretation of Bram Stoker’s groundbreaking 1897 novel. It’s a career-making piece with classic vintage camera shots (e.g., the light falling perfectly over a character’s eyes) and moody, skin-shredding images that delight and perfectly horrify. In a crowded marketplace of mediocre vampire…
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FrightFest 2026: ‘The Flesh Itself’ is a Robert Eggers-worthy chamber piece
Out of FrightFest, Ian SBF’s The Flesh Itself emerges as the festival’s best offering this year. The film, co-written with Deive Pazos and Alexandre Ottoni, examines the ravages of wartime, harbored biases, and the bigger picture at play in our everyday lives. Human beings have been and continue to be the most savage beasts we…
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FrightFest 2026: ‘Ghost in the Cell’ balances gore and art
Out of FrightFest, Joko Anwar’s Ghost in the Cell explores the discovery of profound peace in faith, art, or oneself. In the face of a society riddled by anger, the journey to enlightenment can be difficult, impossible even. But uncovered harmony works as the perfect anecdote. With his latest film, the writer/director achieves a thoughtful…
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Review: ‘Penny Lane is Dead’ achieves the perfect nihilistic and cathartic blend
The mid-2000s were steeped in nihilistic destruction. Films such as Eden Lake, Martyrs, Inside, and Wolf Creek knew how to devastate, effectively exhibiting the darkest and grimmest parts of humanity. Mia-kate Russell’s Penny Lane is Dead crushes the soul with the tone and feel of its most notable predecessors. Damaged human beings so often perpetuate…
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FrightFest 2026: ‘Dead Eyes’ peers into your soul
Writer/director Richard E. Williams swings for the fences with his latest feature, Dead Eyes. Out of FrightFest, the first-person POV film lies within the same ambitious realm as Johannes Grenzfurthner’s experimental Solvent. Where Grenzfurthner tinkers with broken static and sound, Williams delights with a slicker approach, with the feeling of a hyper-stylized video game. Dead…
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FrightFest 2026: ‘Starsuckers’ sucks society dry
Writers and directors Brett and Jason Butler slice and dice parasocial relationships with Starsuckers. Out of FrightFest, the Influencer Horror film destroys the barriers between who celebrities are online and who they are in real life. Blood sprays; body parts; and a taut, thorny script sink pierces like daggers to the heart. Especially in recent…
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FrightFest 2026: ‘Blood Secret’ makes a murderer
Out of FrightFest, writer/director Cameron Francis’ Blood Secret walks the line between paranormal and slasher with acrobatic precision. Francis sets the bloody events in a single location over the course of one night. Bold creative decisions fuel the flames of his story of deception, regret, shame, and fear. The filmmaker exercises his artistic muscles with…
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FrightFest 2026: ‘Slay’ slays slashers with a sashay
Horror has always been queer. Since the early cinematic days of filmmaker James Whale, an openly gay man who crafted such queer classics as The Old Dark House (1932) and Bride of Frankenstein (1935), horror has always been about society othering the LGBTQ+ community. Queer people have often been relegated to being monsters and strange…
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Review: ‘Cruel Hands’ lights a fire to domestic violence
Domestic violence takes shape in Al Kalyk’s Cruel Hands. Visceral anguish seeps from the TV screen and soaks into the viewer’s skin. The film, co-written with Matthew Kalyk, shares a kinship with 2020’s Hunter Hunter, both volatile stories that explode upon impact. In his 1697 play, The Mourning Bride, English author William Congreve once wrote:…
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Review: ‘Together Till the End’ makes a zombie apocalypse feel suffocating
It’s difficult to make a good zombie film these days. Flesh eaters have flooded the market for decades now, and The Walking Dead made them significantly more popular again after a bit of a lull. Writer/director Salvador Medina offers a fascinating character study into what a zombie apocalypse does to humanity, the strain it puts…
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5 Horror Movies That Made Me: Erin รine & Kyle Valle (Autonomous)
AI Horror captures the state of our reality in ways other horror subgenres do not. With their bite-sized horror series, Autonomous, actor Erin รine and director Kyle Valle explore a rideshare cab gone rogue and the real terror of the unknown. In a new 5 Horror Movies That Made Me segment, the pair share their…
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Review: ‘Teenage Sex and Death at Camp Miasma,’ a spiritual remake of ‘Sleepaway Camp’
Robert Hiltzik’s 1983 camp slasher Sleepaway Camp still divides audiences. Many queer viewers find the surprise ending quite transphobic, while others read the twist in very different terms. However you cut it, the landmark film speaks to queer audiences very specifically and continues to be a point of heated conversation on- and offline. In their…
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Review: ‘Big Baby’ is the perfect summertime slasher
We are living and breathing a slasher renaissance right now. This year alone, we have Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, Pierre Tsigaridis’ Frankie, Maniac Woman, Daniel Goldhaber’s Faces of Death, and Radio Silence’s Ready or Not 2: Here I Come. Now, you can add Spider One’s gloriously fun and bloody, soon-to-be…
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Horror in Frame: Spider One, Krsy Fox, & Brandon Scott (Big Baby)
Spider One’s Big Baby makes a case for one of the year’s best slashers. For slasher fans of the classic ’80s style, the indie film perfectly captures the spirit and splatter of the genre in its heyday. And there’s no shortage of commentary on podcast culture, the moral implications of murder, and the impact of…
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[…] However, his songs here are as relevant and crushing as ever, as queer non-binary music critic Bee Delores recently…
[…] parental instinct at its core, which Ehrlich argued lands even through the film’s excesses. B-Sides & Badlands described the…