Osgood Perkins’ Longlegs is an inconsistent mishmash of The Silence of the Lambs and Cure.
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Frank Darabont’s Stephen King horror adaptation plays like a dry run for The Walking Dead.
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This sequel to the surprise Netflix horror hit, The Platform, loses the elegance of its predecessor.
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Shyamalan’s 2004 film has its merits, but revisiting it reveals the muddled philosophy that drives it and robs it of many key thrills.
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The Faculty is Invasion of the Body Snatchers for the MTV generation.
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Michael Curtiz’s Doctor X demonstrates the perverse strangeness of pre-Code horror.
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The Brothers discuss Erle C. Kenton’s pre-Code horror adaptation of H. G. Wells’ The Island of Doctor Moreau.
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Anders ranks the films of the Final Destination series, one of the first horror franchises of the twenty-first century.
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Tod Browning’s Freaks is an icon of pre-Code horror and a great drama about the lives of circus performers.
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Eddie Murphy’s The Haunted Mansion is an effective spooky movie for children and families.
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The Witches remains a notable blend of horror and adventure for kids, and the most surprising movie of Nicolas Roeg’s career.
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Even more than Poe’s story, Corman’s version highlights familiar features of the Gothic.
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David Bruckner’s Hellraiser reboot is a flattened riff on the tale for a flattened cinematic culture.
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A ranking of each film in the iconic horror series, Halloween, which digs into the series’ strengths and weaknesses. Updated to include Halloween Kills and Halloween Ends.
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Examining the 11 films in the Hellraiser franchise and exploring their shared thematic interests and narrative failings. Updated to include the 2022 reboot.
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Anders looks at the five films in the Exorcist franchise and looks at how each one expands on the original.
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In Nosferatu, the corrupting power of the vampire is linked to that most symbolically potent infectious disease, the Black Death.
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Roger Corman’s The Masque of the Red Death is more effective as a late-night Gothic thriller than as an adaptation of Edgar Allan Poe’s famous short story.
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The Brothers discuss, among other things, the merits of “elevated horror,” schlock, gore, silly ideas, and the nature of the horror genre.
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