We review Lydie-Anne W. Schuman’s Silent Bite (2024). This Christmas-themed vampire heist movie features the cast of The Nights Before Christmas, but is it a stylish Tarantino-esque thriller or just a derivative, technically broken trudge through bad audio and stolen dialogue? Find out in our full review.
We review Paul Tanter’s The Nights Before Christmas (2019). This holiday slasher sequel features a murderous Santa and a Harley Quinn-inspired Mrs. Claus, but is it a festive treat or just a dull, dialogue-heavy trudge through generic tropes and bad acting? Find out in our full review.
We review Brandon Espy’s Mr Crocket (2024). This feature-length debut features a demonic kids’ show host snatching children from their parents, but is it a nostalgic 90s-style horror hit or just a predictable trudge through repetitive tropes and unlikable characters? Find out in our full review.
We review Ian Hunt-Duffy’s Irish horror-thriller Double Blind (2024). This high-concept medical trial horror features a drug that kills you if you fall asleep, but is it a tense new psychological hit or just a predictable trudge through worn-out facility tropes and paranoia? Find out in our full review.
We review Bruce Goodison’s Shudder Original Black Cab (2024). Starring Nick Frost as a menacing taxi driver, this claustrophobic thriller starts strong, but is it a tense psychological hit or just a predictable trudge through dull urban legends and poor visual effects? Find out in our full review.
We review Alan Scott Neal’s indie slasher Last Straw (2024). This diner-set survival horror attempts to subvert expectations, but is it a tense new psychological hit or just a predictable trudge through grating characters, poor audio, and an insufferable protagonist? Find out in our full review.
Confused by the ending of Cellar Door? We explain exactly what was inside the forbidden room, what happened to John’s mistress Alyssa, and why the Jasmine plant is the key to understanding the final scene.
We review Hannah Macpherson’s Netflix slasher Time Cut (2024). This time-travel horror features a teen girl returning to 2003 to save her sister, but is it a nostalgic holiday hit or just a toothless, saccharine trudge through lethargic acting and bad tropes? Find out in our full review.
We review Vaughn Stein’s thriller Cellar Door (2024). A couple is gifted a dream home with one simple rule: never open the cellar. But is this a tense and shocking mystery hit or just a predictable, milquetoast trudge through boring metaphors and weird casting choices? Find out in our full review.
We review John Carpenter’s horror masterpiece The Thing (1982). This iconic sci-fi slasher features a research crew in Antarctica battling a shape-shifting alien, but is it a tense and terrifying hit or just a slow, gory trudge through 80s tropes? Find out in our full review.
We review the controversial BBC horror drama Ghostwatch (1992). Starring Michael Parkinson and Sarah Greene, this “live” haunting famously fooled a nation, but is it a pioneering found-footage hit or just a dated television curio? Find out in our full review.
We review William Friedkin’s legendary horror classic The Exorcist (1973). This famously banned story of a possessed young girl remains a technical masterpiece, but is it a terrifying supernatural hit or just a slow, depressive trudge through 70s religious dread? Find out in our full review.