And what of fear in Dead of Night? someone may ask. Fear not—it’s there. At first hidden, it gradually asserts itself, waiting for the opportune moment.
The OA seems to know no bounds, and in the finale it crosses yet another. For some it will be comparable to the revelation of Laura...
The house the main characters move into in You Should Have Left isn't haunted, but something is definitely wrong with it.
King once said that he does not write horror, but rather psychological dramas that happen to be horror. Castle Rock attempts the same...
I Know What You Did Last Summer became a solid hit ($125 million), helping to rejuvenate the very slasher genre Scream had so joyfully mocked.
It’s reminiscent of Final Destination, – but Countdown prefers sudden demonic appearances and loud sound stings to flashy death sequences.
I can easily imagine The Perfection in the hands of a South Korean director, someone skilled at navigating the borders of genre, tone, and convention.
"Goodnight Mommy" is an example of genre cinema that offers more beneath the surface than it does on a purely narrative level.
From the very first minutes of Maus by Yayo Herrero, one can sense an underlying tension, the source of which is initially difficult to pinpoint.
Bone Tomahawk surprised me with its characters and the amount of time the director devotes to showing us that they are far more complex than they...