Horror might not be a replacement for the absolutism of religion, but for Stephen King its proved to be both a lucrative and at times life-long examination of what exists behind locked doors.
Kino Lorber's 4k restoration of King Hu's work brings the undeniable accolades "spellbinding" and "enchanted" to the fore.
A second-tier Marvel character, Ghost Rider's motorcycle mayhem tried but never could burn up the silver screen.
On a story level, The Maze is a silly movie. On a production level, it's a silly movie with class.
The culture has shattered AlfredHitchcock's legacy into separate identities. We must view him as the brilliant, horrifying, innovative, monstrous composite he authentically was.
The screenwriter for The Orphanage uses horror to explore that mysterious place between childhood and adulthood, the mystery between fantasy and reality, the otherworldly line between life and death.
Blood, guts, and identity theories about the popular FX horror anthology series.
Safety is an illusion, Dourif says. There is no solid ground anywhere -- least of all beneath an actor's feet.
When people change it often isn't for the better or the worse, but just for the different. And sometimes it's just like zombies.
Channel Zero is the most shocking, terrifying show on TV right now. With the meat-cult third season that was Butcher's Block now finished, creator and showrunner Nick Antosca talks about the show's development, themes, and future.
The way Soderbergh knocks loose our grip on reality is paralyzing and unforgettable.
The Outer Limits is a mix of science fiction, nightmares, and surrealism -- the very things that make life worth living even though they scare the bejeebers out of us.
George A. Romero's definitive zombie movie finally gets a definitive release on Criterion -- and it goes straight for your gut.
Why do horror fans take Romero's 1978 indie masterpiece so personally? A close look at the film, its novelization, its soundtrack, the Soft Cell pop song it inspired, and other pop culture obsessions.
Alex Garland's follow-up to Ex Machina is a visceral cinematic experience that, while plagued with structural problems, delivers plenty of thrills and eye-popping spectacle.
Joan Lindsay plies the narrative with questions of female indignation, the emotional reserves which harbour the most poisonous sentiments liable to destroy any code of sisterhood honour.
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