The Amusement Park, George A. Romero’s nearly lost PSA film from 1973, recently debuted on Shudder, showing a horror master’s cinematic perspective on the devastation of ageism.

The Woman in the Window, one of Netflix’s latest psychological thrillers directed by Joe Wright, begins as a decent homage to Hitchcock, but weakens in its conclusion.

The real horror behind The Shining is the emotional labor of Wendy Torrance. Wendy Torrance is the ultimate Final Girl and the heroine we didn’t know we needed.

Pedro Almodóvar’s controversial 2011 film The Skin I Live In is the ultimate conundrum: It is both visually and auditorily appealing, exciting and shocking, and yet it is deeply problematic.

Celebrating halfway to Halloween with Ghostwatch, the 1992 reality-horror, mockumentary-style film is one of the well-remembered examples of found footage, though it was taken from the air after its first showing.

Celebrate Mother’s Day with a list of horror movies that examines monstrous mothers and their relationships with their children.

In the latest Peacock true crime documentary, John Wayne Gacy: Devil in Disguise, viewers are taken through a detailed timeline surrounding the events of the 1960s and 1970s Chicago “Killer Clown” murders.

Jakob’s Wife, directed by Travis Stevens and starring the highly acclaimed Barbara Crampton and Larry Fessenden, both plays well with a vampire and man-of-the-cloth dynamic, while also reinforcing the growing trend in horror of pushing subgenres in new, much-needed directions.

Reignite your fear of the great outdoors with our list of recommended horror movies that celebrate the dark side of spring.

The Creep duology is a carefully crafted combination that makes for a micro-budget psychological slasher we didn’t know we needed, but are so grateful to have.

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.

In the last round of Sundance movie reviews, Ande Thomas celebrates impressive entries and two surprise contenders.

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.