Jim Hemphill is surprised to find the latest Blumhouse joint is legitimately great, and wonders if a golden age of horror is imminent.
Shannon Plumb braves her first horror movie in two decades, and ponders how a beloved comic figure became an icon of evil.
Jim Hemphill makes the case for Daniel Waters' subversive summer camp movie, a film that has never been recognized for its unsettling brilliance.
A wildly sumptuous feast for the senses, the undervalued sequel is due for the same critical reevaluation as Sorcerer.
Stephen Winter distracts himself from the horror of political goings on by indulging in the first film by a major new voice in American cinema.
Blair Witch Project director Daniel Myrick, currently crowdfunding his next movie, on harnessing technology to win your creative freedom.
As she prepares her own Bluebeard film, The Love Witch director Anna Biller looks at past cinematic takes on the dark fairy tale.
Steven Sheil looks at why people watch and make horror films, and the profound emotions and questions that are inherently rooted in the genre.
Jim Hemphill bangs the drum for Michael Goi's Megan is Missing, the one found-footage movie he thinks is worth a damn.
Ted Geoghegan pays tribute to the late Godfather of Gore, an unabashed fan of sleaze and goofy ultraviolence – and a born entertainer.