Okay, so let’s just get this out of the way up front. Sean Olson’s Max Winslow and the House of Secrets is not a horror movie. Not even close—though some younger audience members may find a bathroom mirror scene particularly scary. What it may lack in the way of horror, however, is counterweighted by the heaviness of its subject matter, making for a film that chooses emotion over scares...

The Dead Center welcomes you to the noise and chaos of an emergency psychiatric ward...

Ramon Porto Mota's directorial debut is a perfectly paced mystery. Its deft execution is apparent on every level. The Yellow Night, having recently played at the Brooklyn Horror Film Festival, fully engages the viewer in ways that similar genre films often attempt but fall short of...

Imagine someone pitching this movie idea to you: A family goes on vacation for their daughter’s eighth birthday, but instead of happy times the celebration ends with the death of their only child. Now this is a very significant event, however, the main focus of the movie comes later when the couple goes on vacation in an attempt to salvage their marriage. While camping, the two grieving parents end up reliving this fatal trip over and over, and each time ends with torture and murder at the hands of three mysterious figures. If writer/director Johannes Nyholm pitched this film to me, I would first ask him if he was okay and if he needed a hug… 

There’s a lot that one could accomplish in 83 minutes. Reasonably one might finish a third of a season of Dan and Eugene Levy’s delightfully acerbic series Schitt’s Creek. One might also find that time fitting to have the oil in their vehicle changed...twice. And if one were really ambitious one might find it possible to solve the issue of international political discord with just enough time remaining to grab a quick triple-tall, no-foam, non-fat latte. What one won’t achieve in 83 minutes is cobbling together a cohesive synopsis of  Martín Blousson and Macarena García Lenzi’s Rock, Paper, Scissors (Piedra, Papel, y Tijera) which recently premiered at the Brooklyn Horror Film Fest…

My favorite thing about Ari Aster’s Midsommar before I got to see it for myself was the sheer number of women saying it was the best movie to take your shittiest ex to. I could make a similar case for Omri Dorani’s This is Our Home, which recently played at the Brooklyn Horror Fest…

When the title page to a film looks like it belongs on the cover of an ‘80s horror paperback, you just know you’re in for a treat…Or are you?...

Have you ever found yourself in a situation you could swear you’ve experienced before? Did the outcome of said situation seem predetermined? Do you have a shitty landlord with an aggressive beard and also work with a professor, skilled in quantum physics, who has an even more aggressive beard than your landlord? If you answered “yes” to every single one of these questions, you might just be James, the main character of Volition…

Whenever we watch a haunted house story, audiences tend to say, “I would be out of that house so fast! Why don’t they leave!?” Fair question, imaginary viewer. That’s just one of many crux’s that haunting films must endure, and while Eli falls victim to a handful of them, the film finds a unique way to satisfy all of us backseat filmmakers…

Let's get this out of the way: Anyone who takes the chance to write a script, find a crew, get funding, cast actors(this film has Bill Mosely and Bill Oberst Jr), and find a distributor - definitely deserves a round of applause. The movie industry isn't easy and anyone who makes a film should be given respect, regardless of how far the final product strays the initial creative intention. No one wants to make a bad movie. But the truth is, Jeff Broadstreet's Devil's Junction: Handy Dandy's Revenge is a bad movie...