UHF was not favored by critics, who quickly dismissed it as unfunny and lacking a clear idea of what it wanted to be.
A sadist, a brute, an executioner, a criminal, a cold-blooded primitive. It’s hard to like the protagonist of a film Pieta by Kim Ki-Duk.
On a directorial level The Other Side of the Door strikes the right notes, skillfully awakening fear and building tension.
Silent Twins operates on several generic and stylistic levels. Horror sits alongside psychological analysis; animation corresponds with a coming-of-age story.
For the first hour and a half, The Intern presents us with an image of a perfect world.
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...
Close is piercing, eye-opening cinema—cinema of humanism and catharsis. A shining pearl that everyone should fish out of cinema repertoires.
Lake Placid is permeated with a parodic note: at heart, it is above all an unpretentious mockery of monster movie conventions.
Coraline is a psychoanalysis of its main character—an intriguing translation of her fears, needs, and fascinations into the language of symbols and metaphors.
This House Has People In It is an intriguing little masterpiece that uses the basic primer of horror cinema in order to spectacularly tear off the cover...
