In his feature directorial debut, Alex Kugelman looks to peel back the layers of nepotism and gatekeeping in Hollywood in Don’t Trip. Starring Matthew Sato and Will Sennett, and with appearances by Fred Melamed and Chloe Cherry, Don’t Trip follows Dev Ryan, a struggling screenwriter whose desperation to get his script into the hands of a producer sends him hurtling toward a (comically) tragic end.

Last year, I found myself at odds with the majority of moviegoers who saw Winnie-the-Pooh: Blood and Honey.  The reactions generally ranged from apathy to vitriol—how dare they stain the reputations of such loveable public domain characters? That film garnered only 50% approval from audiences on Rotten Tomatoes, and a shocking 3% from critics.

It’s hard to imagine that Winnie-the-Pooh: Blood and Honey could be any further from the vision A.A. Milne had for his characters in the Hundred Acre Wood when he created them in 1926. Now that the characters are in the public domain, however, it didn’t take long for writer/director Rhys Frake-Waterfield to bring the children’s tale to its inevitable, horrifying conclusion. 

Hauntings are a very well-known horror phenomenon. From Shirley Jackson’s The Haunting of Hill House and its many adaptations to the countless haunted houses that pop up every October, to haunted house movies like J. A. Bayona’s The Orphanage (2007) and The Conjuring (2013), directed by James Wan, horror audiences are no strangers to ghosts. But a horror story that is often unjustly left off of horror lists, though it features prominently on many Christmas ones, is Charles Dickens’s A Christmas Carol.

How can The Tingler—a post-atomic horror film about a lobster-like creature that manifests on your spine whenever you are afraid—possibly be compared to something as life-affirming and fancy-free as a musical? If we set aside genre and look at the form and content of both The Tingler and another self-reflexive picture from the same decade, Singin' in the Rain, the correspondences between the different genres are fascinating.

Make a toast to the latest and greatest horror icon in this terrifyingly delicious cocktail inspired by Art the Clown of the Terrifier franchise.

Full Moon Features' 400th film, Quadrant, takes audiences into a dark, AI-generated virtual world where fears become reality, but its rapid pacing and uneven dialogue may overshadow the eerie, hallucinatory visuals that make this horror thriller stand out.

A lot of what the pros refer to as “creative nonfiction” will often have a headline that will be pure hyperbole and sometimes, clickbait. In this instance however, I’m not kidding.

Indie filmmakers are the heart of the horror genre. While mainstream horror flicks bring in large numbers, it is the indie films that typically push the boundaries and take on ambitious themes. Often uncomfortable, gross, or downright strange, here are some of our very favorite indie horror films.

After summoning a holiday shark cartoon and wishing to be alone this Christmas, Cody must fight to protect his family from being killed by his own creation.

Netflix’s Fear Street movies, adapted from the novels by R.L. Stine, feature fun cast performances, an interplay of nostalgia and tropes, and demonstrates director Leigh Janiak’s talent for telling a good story.

Stuart Gordon’s Dagon, often overlooked in favor of his other movies, stands the test of time as both a unique horror movie and a parry against the racism in Lovecraft’s literature.

Suspiria engages with color and atmosphere, and in this examination of Dario Argento’s use of the color yellow, we see Suspiria mirrored with the work of Vincent Van Gogh.

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

There is a perpetual and cyclical bleeding out of color and emotion in the Rothko paintings, such that the viewer is easily overwhelmed. In Suspiria, it is unabashedly intentional. This is the first of a 3-part series on the colors of the original Suspiria.

While protestors fight tooth and nail for a better future where Black lives are protected, cherished and uplifted, we sit squarely at a cultural crossroads where the U.S. has the chance to reckon with the atomic graveyard of its past.

Shark Week is an 11-part series dedicated to the education and preservation of one of nature’s oldest, most efficiently evolved species.

Shark Week is an 11-part series dedicated to the education and preservation of one of nature’s oldest, most efficiently evolved species.

Shark Week is an 11-part series dedicated to the education and preservation of one of nature’s oldest, most efficiently evolved species.

Shark Week is an ongoing, weekly series about people getting eaten as fast as possible.