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.

Studio 666 is an unwieldy, mostly unfunny hodgepodge of tired horror conceits and winking, self-indulgent humor that ends up making next to no lasting impression whatsoever.