The Sadness is one of the more aggressively bleak, disturbing, and depraved horror films I’ve ever seen. While I know that sounds like hyperbole, trust me when I say it is not.

It doesn’t happen immediately, but when it matters most, Raimi unleashes all of the crazy, comedically vaudevillian, blood-soaked, visually audacious tricks fans expect from him, and Doctor Strange in the Multiverse of Madness comes alive like no other MCU entry in recent memory.

Gustavo Hernández’s latest shocker Virus: 32 is an effectively unsettling slice of bloody run-and-hide zombie horror that had me squirming in my seat.

Themes revolving around personal self-discovery are universal in their eerie effectiveness, and there were multiple moments where I saw myself in the main character, a quiet shiver cascading down my spine every time.

While not nearly as fresh as its predecessor, this second helping of blood-splattered dystopian craziness is still a decent bit of fun.

Morbius isn’t a bad movie. It also isn’t a particularly memorable one.

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.

X is a gnarly, sexually provocative thriller that juxtaposes youthful upheaval against the inevitable ravages of old age, all of it showcased with tongue firmly in cheek and middle finger proudly unfurled.