LEVITICUS: THE TEXT AND THE TERROR
Adrian Chiarella's debut understands that the real monster has always been the book it's named after.
Backrooms Finds the Door, Loses the Way Out
Kane Parsons announces himself as a major filmmaking talent with a first two-thirds of pure, sustained dread, only to watch his screenplay lose its nerve just when the psychology it built so carefully was about to pay off.
In Obsession, the Scariest Thing Has the Cuddliest Name
Curry Barker's debut turns a silly magic trick into one of the most unsettling portraits of male obsession in recent memory, anchored by a career-making performance from Inde Navarrette.
All the Right Ingredients but the Dread Never Fully Sets In
Damian McCarthy’s latest horror film arrives with the blueprint of a classic haunted tale. A remote hotel filled with buried history, locked rooms, lingering tragedy, and personal ghosts waiting to resurface. On paper, Hokum feels tailor-made for fans of traditional ghost stories. But despite its strong foundation and carefully constructed atmosphere, the film never quite creates the lingering unease that defines the genre’s most memorable hauntings.