Columns
One of the world's greatest X-Files collections needs your help getting a museum.by Rue Morgue Manor
If DROWNING could be viewed as an electrical time sequence, it would simply be a flatline due to inactivity.by kleurvision
A tech-infused yet human-scaled, consistently tense genre piece anchored by a terrific lead performance.by Michael Gingold
It’s all too tame (this is barely PG-13 stuff) and generic for hardcore horror fans, and—well, too tame and generic…by Michael Gingold
The duo discuss their unique and powerful merging of genre and dramatic themes.by Michael Gingold
When there’s no more room on the basic cable schedule, a TV crew on the verge of cancellation will walk…by Michael Gingold
It’s underheated for the first hour or so and absurdly overplotted in its final act.by Michael Gingold
The trio talk up their deliciously nasty familial shocker.by Michael Gingold
Reveals the breadth of thought and craft that went into translating William Peter Blatty’s book and script to the screen.by Michael Gingold
The initial set-up is interesting and the overarching concept commendable, but THE REMAKING suffers from a lack of actual narrative…by kleurvision
It’s been brought off with impeccable, intoxicating craft.by Michael Gingold
The Haitian voodoo past isn’t dead in Bertrand Bonello’s hybrid triumph; it’s alive and well at a French boarding school.by Michael Gingold
COLOR is the more successful of the two, while THE TURNING completely falls apart at the ending.by Michael Gingold
Gille Klabin's Fantastic Fest selection stars Justin Long as a hapless lawyer on a very strange trip.by Rocco T. Thompson
How he brought the author’s tale to the screen—and what he felt the need to change.by Michael Gingold