On a directorial level The Other Side of the Door strikes the right notes, skillfully awakening fear and building tension.
In the age of found footage, sloppy handheld camerawork, and an exceptionally limited visual imagination among contemporary horror directors, The Hallow feels like a return to a horror...
The Visit is not only the scariest film of Shyamalan’s career (and ironically, also the funniest) but also the best frightener in years.
Del Toro loves visuals, giving them an unreal, almost dreamlike status, aided by superb set design and picturesque cinematography.
Krampus is, above all, entertainment cinema. It is meant to scare and amuse, which it does excellently, while also giving us a valuable lesson for the approaching...
The Babadook appears as something unusual, fresh, close to art-house cinema, yet efficiently employing horror elements.
Carnival of Souls captivates with its extraordinary atmosphere, causing the viewer to experience something comparable to attending a funeral ceremony.
This adaptation of Henry James’s novel seduces the viewer discreetly, only to leave them in the finale with a feeling of sadness and bitterness.
Chained for Life is, on the one hand, a lyrical but never sentimental story about empathy; on the other, a film-within-a-film, at times absurd and funny.
Assault on Precinct 13 stands up brilliantly. This is a distillate of action, tension, and atmosphere. Whoever has not seen it should catch up immediately.
