The suspenseful opening sequence of Mark Hartley’s narrative debut, PATRICK, deals in a time honored thriller trope.
Based on the broadest definition of genre, Alfonso Cuarón’s astounding new film GRAVITY doesn’t cleanly qualify as horror.
Each year, TIFF’s Midnight Madness program provides a home for hungry genre buffs where blood is spilled for adoring crowds to squeal in delight.
More faux doc than “found footage,” Ti West’s THE SACRAMENT exceeds at effectively blurring lines, subsequently succeeding at being horrifying and grounded.
Ready-to-pop pregnant Esther Woodhouse (Alexia Rasmussen, pictured above) is walking home from an obstetrician’s appointment when she’s brutally attacked in the street by a hooded str
If you recall, we first met Richard Riddick, an extreme survivalist Furyan with hyper sensitive eyes that aid him to see in the dark at long distances, in the modern cult favorite PITCH BLACK.
Whether WITHER positioned itself as a child of Sam Raimi’s iconic low budget debut or not, the lineage would be easy to trace.