A stalker situation gone berserk; a cursed trailer home situated in the flat vastness of chilly, rural New Mexico; a provocative, post-coital admission of murder: Jethica would seem equipped for full-blooded horror if its wider ambitions weren’t so clearly apparent.
The Harbinger, the latest of Andy Mitton’s exquisitely heady—and horrifying—otherworldly explorations, is the only quarantine film we need.
With his cold, enigmatic handsomeness and piercing blue eyes, Ralph Fiennes was meant for villainy.
Suckers for crazy-ass voodoo curses that travel down female family bloodlines should delight in The Kiss, a film that got lost among the wealth of 1988 horror gems like Child’s Play, The Blob, and Pumpkinhead, and still hasn’t found its rightful place in the pantheon.
Legendary Amicus anthologies like Freddie Francis’s Tales from the Crypt (not to mention TV shows like The Twilight Zone, adopting the same style) owe everything to Dead of Night, the granddaddy of the horror omnibus.
After four canonical films and two offshoots, the indomitable series returns to glory with Prey.
Not just a key figure in the emergence of the J-horror movement, Kiyoshi Kurosawa is also a contender for the most important filmmaker in all of Japanese horror history.
Looking back on the experience of Darren Aronofsky’s divisive masterwork and questions of misogyny in horror from a world unimaginably more surreal than the one we inhabited five years ago.
As The Innocents opens, a family of four are in the car headed to a new home. In the back seat sit two sisters: the lightly freckled Ida , her intense stare much older than her 9 years, pinches her older, nonspeaking autistic sister, Anna. Is it a playfully innocent gesture, testing a disability that she, like everyone else, can’t fully understand? Or is there something more sinister, Village of the Damned–style, at play here?
Audiences and filmmakers alike can’t seem to get enough of body horror. The Soskas went for it full-throttle with their 2019 remake of Cronenberg’s Rabid (an early work by one of the subgenre’s originators). But seven years prior, the Canadian sister directing duo also known as the Twisted Twins made their body-altering masterpiece.