Arrebato (Rapture) is the 1979 cult-hit from Spanish director Iván Zulueta that has thrilled and mystified international audiences for decades and will soon be available for the first time in the United States.

Though Brotherhood of the Wolf has its rough edges, this genre mashup of a movie has much to offer for horror and history fans alike.

The horror in Midnight Mass isn’t its vampire, though that is horrifying as well, but in its people—that an entire town of good, well-meaning families could be so easily convinced to turn on each other and their humanity. It’s a difficult but necessary pill to swallow in a post-COVID, post-QAnon world.

Nia DaCosta’s Candyman, though it closely follows the footsteps of the original, is a worthwhile sequel, wearing its themes on its sleeve and breathing new life into the story for the next generation.

David Lowery’s The Green Knight, a dreamlike venture, explores the vast interiority and resiliency of the human spirit, and that, really, sometimes you’ve just gotta lose your head.

Things Heard & Seen seemed to promise something new for Gothic horror, but where we expected ghosts, we got failed marriages.

Andrzej Żuławski's Possession, having gained cult status 40 years later, tells the story of a failing marriage and an equally devastating relationship to God and divinity.

Under the Shadow (2016), written and directed by Babak Anvari, is an incredibly important, needed, and timely Iranian entry in the haunted house subgenre, repoliticizing the concept of “house” and home.

The Vigil, written and directed by Keith Thomas as part of his directorial debut, is a largely paint-by-numbers supernatural horror affair that manages to expand the Jewish horror subgenre in an enjoyable way.

Possessor, Brandon Cronenberg’s latest feature, leans into the family legacy of body horror but also struggles to maintain focus.

In succeeding Mike Flanagan’s Haunting of Hill House Netflix original series, The Haunting of Bly Manor draws horror back to its roots in Gothic Romance, leaving us haunted in its loose retelling of The Turn of the Screw.

In our latest horror review of Natalie Erika James’ Relic, Destiny Johnson dives into what works and what doesn’t for the narrative, and how the mind is truly a haunted house.

Twenty-five years after release, The Prophecy both remains a cult fixture in the film landscape and a compelling take on religious horror.

In fact, Cabin is just as much of a comedy or takes on elements of science fiction, as much as it is a “loving hate letter” to horror.

Blatty’s success with The Exorcist III (1990) comes not from his directorial skills—his inexperience can be fairly obvious at times—but rather from his talent as a writer.

From the tragic evening, into the unknown and unwavering forest, the viewer is met with horror-version visuals of what it might be like to live through a devastating experience.

And though I would first consider A Ghost Story (David Lowery) an unblinking, compassionate look at grief, there are also beautiful moments of introspection through the lens of memory.

A timely & thoughtful look at the 2019 Pet Sematary.

The Transfiguration stitches together a new vision of what it means to be a vampire in modern cinema. A lovechild between Let the Right One In, and the hidden ’70s gem, George A. Romero’s Martin, it effectively builds on the rich history of vampire films in the U.S. and maintains a sense of relevancy, without sacrificing its unique point of view.

A deep dive into the visuals of The Exorcism of Emily Rose reveals a haunting foreshadowing of the economic recession.