Zach Cregger’s Resident Evil puts an ordinary courier through the games’ most frightening—and frustrating—survival rules. It’s the best adaptation yet, though the final act goes too big.
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Taratoa Stappard’s Mārama brings Māori history into a beautifully designed Victorian Gothic manor, but slow pacing and overly obvious symbolism weaken its colonial reckoning.
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Black Box has a convincing airplane set and one energetic alien attack, but its stock passengers, awkward writing, inconsistent creature rules, and overreaching effects leave the high-concept premise grounded.
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Sweetheart (2019) gets a lot of mileage out of a simple fear: the ocean is scary as hell. J. D.
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Opus works best before it explains anything. For much of writer-director Mark Anthony Green’s feature debut, the film traps its
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Most horror films give fear a recognizable shape. The killer wants revenge. The ghost remains attached to a particular place.
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There is something deeply unpleasant about watching an inanimate “object” suddenly appearing in a different spot. Oddity works with this kind
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There is a compelling idea at the center of Alexandre Aja’s Never Let Go (2024): abuse reproduces itself. Trauma doesn’t remain sealed
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Talk to Me (2022) understands that the most dangerous supernatural object isn’t necessarily one that forces itself on people. Sometimes it’s
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Near the end of Super Dark Times (2017), Zach tries to stop Josh with the one kind of speech the boys have
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I have a soft spot for horror films that clearly don’t have money to waste. When a filmmaker cannot rely
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The following essay contains major spoilers for Colony (2026). Zombies are normally terrifying because they are mindless. In Yeon Sang-ho’s Colony, they are
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The first half of The Last House (2026) brought back memories of the COVID lockdown for me. I was hunkered down in
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This essay contains major spoilers. Scott Beck and Bryan Woods’ Heretic (2024) begins as a theological debate before gradually revealing that no
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This review contains major spoilers. You’ve been warned! If you’d like to see the film for yourself, you can stream
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Most horror films generate fear by violating the boundary between a dangerous world and a supposedly protected interior. The killer
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Passenger (2026) starts well. In fact, it starts well enough to make the rest of the film feel even more disappointing.
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