As we journey further into spring, we think of the verdant grounds in The Haunting of Bly Manor, and in honor of both, we put together a recommended reading list to capture the ghostly spirit of the season.

Indie filmmakers Kevin Ponntuti and Alexandra Loreth tackle the classic story The Yellow Wallpaper by Charlotte Perkins Gilman in a feminist narrative that just misses the mark.

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.

Crime Scene: The Vanishing at the Cecil Hotel (created by Joe Berlinger), Netflix’s latest true crime documentary and story of Elisa Lam, is like many other Netflix documentaries, but falls short in some crucial ways.

We Are Wolves is a riveting, nearly feral horror fiction anthology that strikes right at the heart of the trauma and toxic cultural expectations inflicted upon women.

In our latest Sundance roundup, Ande Thomas notes that Sims-Fewer and Mancinelli's Violation strikes a powerful chord in the rape-revenge subgenre, but Frida Kempff's Knocking falls flat in its attempt to tackle gaslighting.

From scream queens to final girls, horror has proven to be a home for women. Check out the genre protagonists we think you should know.

For Women in Horror Month, Theresa reviews The Stranger by Katherine Oostman, a compelling Christmas horror story and our first short by an independent filmmaker.

Following the end of Sundance, Ande dives into the madness of Ben Wheatley’s In the Earth and examines the challenges of Sean Ellis’ Eight for Silver.

Marking Women in Horror Month, we dive into the maternal and monstrous of Annie Wilkes in Misery.

To celebrate Women in Horror Month, we put together a list of women directors you should know.

Ken Russell’s Gothic (1986) is a frenetic, almost unhinged retelling of the events that led to the creation of Mary Shelley’s Frankenstein, with all the fun of ’80s cheese.

During our first time attending Sundance, we're keeping an eye out for the best in new horror, including work from directors Ben Wheatley and Sion Sono.

In the latest Netflix true crime documentary, Night Stalker: The Hunt for a Serial Killer, viewers follow the hunt for Richard Ramirez through the stories of crime investigators and the chilling accounts of survivors and victims’ family members.

In this 40th anniversary review, Ande revisits one of the most iconic scenes in body horror in Scanners, the film that brought David Cronenberg international attention.

Just over 60 years after its original release, Psycho truly held up, focusing on the film’s cinematography, use of orchestra, and Hitchcock’s desire for secrecy.

Continuing the seasonal tradition of ghost stories, I spoke with Dr. Murray Leeder about his research into the intersection of the supernatural and early cinema, his interest in ghost stories, and how all of this connects.

We look at how Charles Dickens’ classic tale, A Christmas Carol, has been repeatedly adapted, but continues to teach us the same lesson.

Author Grafton Tanner, in his latest book Circle of the Snake: Nostalgia and Utopia in the Age of Big Tech, criticizes the intersection of the nostalgia industry and Big Tech and underscores the imminent need for dreaming a better future that is not at the behest of the surveillance state.

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