The themes about growing up are relatable, the nostalgia is real, and the monster-fighting remains legitimately scary. ‘Stranger Things 3’ is excellent.
In the third season of Netflix’s ‘Stranger Things,’ the story is centered on eroticism instead of friendship.
The boilerplate horror film is one-dimensional, aided by oblivious characters and poor screenwriting, only partially saved by Quaid’s excellent acting.
Peter Suderman talks “The Haunting of Hill House,” and binge-worthy horror movies to watch this Halloween on the Federalist Radio Hour.
The point of ‘Halloween’ is that there is no point. The Shape is simply and purely evil. You can’t counsel it, medicate it, heal it, or kill it.
An earlier entry in the slasher realm is actually a touchstone in the genre: ‘The Town That Dreaded Sundown.’ It’s the last time I felt a visceral combination of fright and thrill from a film.
This 10-part series depicts the existential blind alleys and moral cul-de-sacs of a family not only devoid of religious faith but inextricably beholden to nominalism, the belief that truth is derived only from observable data.
It fails to rise above its genre, but ‘The Predator’ is rescued in part by the symbolism of family love, which reveals a deep emotional humanism that should have received far more praise.
Tim Powers’ latest novel, ‘Alternate Routes,’ is both a thrilling mash-up of science fiction, fantasy, and horror and a work of startling moral sophistication.
‘Castle Rock’ is essential viewing for Stephen King fans, but there’s probably not enough horror to draw in most other genre aficionados.
In three weeks an artsy commemorative book debuts marking the film’s fiftieth anniversary: ‘This Is No Dream: Making Rosemary’s Baby,’ by James Munn and Bob Willoughby.
The new horror film ‘Hereditary’ is hyperbolic in its honesty over what our family line can do to us.
No need for a monster in every scene. This movie gets screams by simply making a sound with a small toy.
It’s not about individualism, it’s not about rugged heroes or implausible survivors—it’s about a mother, a father, and their children. All the fear stems from our need to protect what we love the most.
I don’t think anyone would have ever guessed that the guy who played Jim Halpert on the U.S. version of ‘The Office’ might have anything to do with a discussion of essential horror filmmakers.
As I watched Netflix’s ‘Before I Wake,’ I told the late-night tweeterverse how excellent I thought the film. The film’s screenwriter, Jeff Howard, messaged me in response.
‘Get Out’ has been chatted up for best picture, best actor, best director, and best film editing for Oscar nominations. The nomination lists come out January 23.
The series taps into a timeless, primitive fear of being trapped in the digital hells we’ve constructed — minds with no bodies, no agency.
This was a truly great year for cinema, and I struggled over this list, especially since horror, my favorite film genre, has seen a massive resurgence of quality in the last decade.
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