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  • The Church

    The Church


    The gospel according to Michele Soavi.

    Though it shares strains of DNA with the “pizza shlock” of the Demons franchise, The Church feels wholly removed from any sense of camp despite any initial intentions. Far and away Soavi’s darkest film, it churns with an ancient evil, immutable and rank. And while the pacing may be more intentional than some prefer, the dividends are huge. The truly nightmarish imagery that Soavi unveils in the latter half rewards patient viewing and does well to set this one apart not only within his own filmography, but in Italian horror as a whole.

  • Cold Hell

    Cold Hell


    The stylish front half is impeccable with an opening that winks hard at one of Argento’s favorite trademark giallo shots. From there, much of its runtime involves a slick, neon, neo-noir pursuit shot under sickly electric light on perpetually rainy streets. It switches gears about 2/3 of the way through and subsequently loses some steam, but lunges forward in the home stretch on the bloodied fists of the badass lead.

Popular reviews

  • The Strangers: Prey at Night

    The Strangers: Prey at Night


    Trades in the dusty ‘70s Americana vibe of the original for a decidedly neon ‘80s pop aesthetic that sorta works and sorta doesn’t. It tweaks the concept slightly, rubbing itself up against a more traditional slasher structure, allowing itself to fall prey (heh) to tropes before flipping the script right when it counts. My interest waned a bit towards the climax, but a truly brilliant poolside sequence followed by nods to both Christine and The Texas Chain Saw Massacre pulled me right back in.

  • Annihilation



    A mutated amalgam, mitotic and sick. This is dark, unsettling science fiction that only slides under the skin in order to contaminate the brain. As horrifying to witness as it is beautiful to behold.