Jack Palance and Martin Landau gleefully ham it up, and there’s a nifty plot twist at roughly the two-thirds mark that’s moderately surprising, but otherwise Without Warning is one of those low-budget 1980s oddities that never fully delivers on its promise.

If Terrence Malick ever decided to dip his toe into horror, I’m guessing it would look a lot like Stolevski’s feature-length debut You Won’t Be Alone.

I’m not going to lie and say that Screams of a Winter Night is some long, lost horror anthology classic. It isn’t. But the film has so much go-for-broke, let’s-put-on-a-show charm that it’s not a huge deal that a lot of this doesn’t end up working particularly well.

Turning Red is a miracle of storytelling genius. It will be one of the best films of 2022. Heck, it may turn out to be one of the best I’ve seen the remainder of this decade.

The Old Ways is an inherently human story, grounded in the perception and heritage of its protagonists.

Werewolves Within is likely going to make my 2021 top ten list. It’s great.

The Advent Calendar is another variation on the classic Richard Matheson short story Button, Button, only with an otherworldly demonic twist that’s straight out of Hellraiser.

While Resident Evil: Welcome to Raccoon City has its moments, it doesn’t have enough of them to make watching the movie in its entirety worthwhile.

Antlers proves to be a visceral nightmare in which fantasy and reality collide and become one, while Cooper satiates my appetite for intelligently haunting terror with delectable aplomb.