Fasten your seatbelts because Sofie Somoroff and Celina Bernstein are here to take you on one wickedly revved up journey with the short film Ride Baby Ride!
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The twin brothers behind the YouTube channel RackaRacka, Danny and Michael Philippou, make the leap to features with attitude and aplomb in their debut horror film, Talk To Me. With a fresh new slant on the “cursed object” sub-genre and a stellar breakout performance from Sophie Wilde, the Philippou brothers craft a near-perfect fright fest with one helluva grip. Viewer beware: this Aussie flick will take you down under in more ways than one.
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Nicolas Cage gives horror icon Count Dracula the “Nouveau Shamanic” treatment in Chris McKay’s latest film, Renfield. Despite nearly staking itself in the heart with some weak subplots, this batty horror comedy proves to be a decent amount of silly, gory, disposable fun.
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Ari Aster returns to take audiences on an epically wild and decidedly weird guilt trip with his third feature, Beau Is Afraid. Big, bold, and ballsy, this three-hours long Freudian epic is ostensibly Aster’s very own Magnolia; an expensive, stylish indulgence that finds him wholeheartedly swinging for the fences at the risk of alienating his audience for the sake of art. Results will vary, but it’s a total winner to us.
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Infinity Pool is the third feature from Canadian filmmaker Brandon Cronenberg, and it takes audiences on another horrific and twisted sci-fi/horror trip. This go around, it’s a sunny, all-inclusive resort set in some surreal alternate reality, and it plays like a sadistic White Lotus for kinky weirdos. The film finds Cronenberg expanding in scope and solidifying his own singular style.
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Made for meager $15k, Kyle Edward Ball’s debut feature, Skinamarink, garnered a lot of attention during its festival run due to its unique approach to the genre (and because a pirated copy leaked online). With a viral word-of-mouth and a theater run that saw an exponential return, the film has generated buzz and reopened the conversation — like The Blair Witch Project did before it — about horror’s ability to cause big waves with very little.
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Acclaimed filmmaker and illustrator Alberto Vazquez marches straight into the heart of candy-colored darkness with his latest film, Unicorn Wars. Don’t let its cute and cuddly exterior fool you, this animated flick ain’t for kids. Overflowing with adult themes and erupting with cartoon violence, Unicorn Wars will floor you with its slick animation and stick a heart-tipped arrow through your chest its vigorous anti-war message.
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Travis Stevens is totally unhinged in his latest film, A Wounded Fawn, a psychedelic giallo-tinged arthouse horror that embraces the psychotic. The film is a gritty and grimy vibe that blends slasher and cabin-in-the-woods subgenres to interesting affect.
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After a decade, writer/director Andrew Dominik’s makes he return to narrative feature with Blonde. The film is another decadently shot bold swing finds the Aussie filmmaker taking on Marilyn Monroe and her legacy. Based on the novel of the same name by Joyce Carol Oates, the film indulges in fictions and fixates on tragedy, which will likely make it a tough watch for many, but thanks to its transformative lead performance, hypnotic score, and striking visuals, Blonde frequently creates an intoxicating atmosphere that keeps you under its spell.
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Parker Finn’s feature film debut, Smile, kicked off this year’s Fantastic Fest, where the film received its world premiere. The film is the latest in the “transferrable curse” subgenre, which it uses to make a statement on trauma. It doesn’t do anything new, but everything it does, it does in an effective manner.
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Featuring a mesmerizingly unhinged performance from Mia Goth, Pearl tells the vibrant and violent origin story of X’s villain. Dressed up in technicolor and dripping with melodrama, the film takes viewers for a weird and wacky ride, but much like its predecessor, it’s a little light on X-factor.
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From Miss March co-writer and co-director Zach Cregger comes the horror thriller Barbarian. This delightfully unpredictable and twisted rollercoaster ride is one of the most exciting horror films of the year — and it’s all the more surprising considering it comes from one of The Whitest Kids U’ Know. Barbarian is better the less you know, so do yourself a favor and save this review until after you’ve seen the film.
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After receiving an Oscar nomination for his screenplay collaboration on Joachim Trier’s The Worst Person In The World, Eskil Vogt returns with the grounded and gripping supernatural thriller, The Innocents. With steady hands and clear-eyed focus, the film thoughtfully examines the dark fascinations and curiosities of children to surprising and effective ends. One thing’s for sure: the magic of childhood has never been this compelling or terrifying.
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Dooley Does Murder marks the second short film by L.A.-based writer/director Dawn Storey. Following their debut, LiME, Dawn not only steps into a new genre entirely (that of campy horror), but they also step out from behind the camera as well, delivering a gleefully loony performance as the titular Dooley.
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With X., writer/director Ti West returns to his horror roots and seeks to bring a modern bend to the gritty, DIY filmmaking of the 1970s. Conjuring up an aesthetic that’s a part Debbie Does Dallas, part Texas Chain Saw Massacre, X captures that oldschool feel but doesn’t come backing much heat. It’s not altogether joyless, but for a film that lays emphasis on the hardcore, let’s just say the film has trouble getting it up.
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The citizens of Haddonfield are flung into a crazed panic in David Gordon Green’s latest installment in the Halloween franchise. True to its name, Halloween Kills delivers some hardcore horror violence, but it also nearly shatters the excitement Green’s 2018 film ignited. It’s a fiery mess that manages to be mildly entertaining, despite its many odd decisions.
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Scott Cooper makes his first foray into horror with the slow-burning creature feature Antlers. It’s effectively atmospheric and delivers a few genre thrills, but it doesn’t quite connect all its pieces in a way that fully satiates.
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The latest installment into the V/H/S franchise, V/H/S/94, recently had its world premiere at this year’s Fantastic Fest. Featuring five new segments from filmmakers Simon Barrett, Chloe Okuno, Ryan Prows, Jennifer Reeder, and Timo Tjahjanto, V/H/S/94 takes viewers for a gory good ride that attempts to right the wrongs of the franchise’s previous entry.
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40 years after its initial release, Andrzej Żuławski’s bonkers breakup film, Possession, finally gets the TLC it rightfully deserves! With a new 4K facelift (courtesy of Metrograph Pictures), Possession’s singularly visceral insanity has never looked so damn good. Best of all: a theatrical and digital re-release is slated for October, which means this mesmerizing genre marvel can be seen the way it was always intended!
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Director James Wan returns to his horror roots and funnels his Aquaman money into one of the weirdest studio-backed films in recent memory with Malignant. Part possession film, part Giallo, and thoroughly WTF, Wan whips up a stylish and atmospheric potpourri that glorifies the gory and commemorates the silly and strange.
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