Matt Donato

'Escape the Undertaker' plays like a knockoff of the brands it’s interlocking and underserves its interactive ambitions.

'Beyond the Infinite Two Minutes' is a microbudget exploration of science fiction boundaries powered by nothing but an enthusiastic cast and household monitors.

'Black As Night' is a young adult vampire tale that does its best work addressing marginalized minorities but is lacking in energy.

'Lamb' is an Icelandic amalgam of insinuated folklore and theological damnations that is itself like an iceberg afloat, bobbing with waves, but doesn’t expand much below the surface.

'Bingo Hell' isn’t superbly polished, although that doesn’t stop Gigi Saul Guerrero from bringing entertainment to folkloric urbanization.

'Venom: Let There Be Carnage' is the reflexively humor-heavy continuation y’all demanded after shipping a version of Eddie Brock and Venom that the original buries under dourness.

'No One Gets Out Alive' is a proficiently moody upturn of the American dream, from a perspective that’s privy to all the patriotic panic and supremacy-induced agony.

'There’s Someone Inside Your House' is an energetic, piercing brand of slasher revival that drags the subgenre into a more modern nightmare.

'V/H/S/94' returns with a '90s staged collection of sewer monsters and first-person shooter mayhem in the franchise's latest entry.

Titane would make Gaspar Noé blush and asserts Julia Ducournau as a rebellious cinematic imagnieer for whom no boundaries exist.

'Let The Wrong One In' yucks it up harder than Goofy on laughing gas.

'Intrusion' is as sanitized and mediocre as housebound thrillers come between polished architectural cinematography and dreadfully dreadless home-invasion-adjacent ambitions.

Osmany Rodriguez's 'Vampires vs. the Bronx' proves that New Yorkers can handle anything, even neck-biting real estate nightcrawlers.

'Nightbooks' is a warm and wicked entry point for younger horror fans, with a few treats thrown in for older audiences who've seen everything from 'The Lost Boys' To Peter Jackson's goriest flicks.

'Malignant' isn’t James Wan at his most refined or sharpened, but it’s unapologetically the horror maestro at his zaniest, highest-reaching, and most absurdly enjoyable.

Something as independently diamond-in-the-rough as 'Junk Head' is why film festivals exist (or at least how audiences should take advantage of such events).

Brandon Christensen's 'Superhost' is about vloggers who aren't prepared for the dangers that come with their latest getaway rental pad.

A macabre, grim but not Grimm fairytale like Martyrs Lane is a reminder that horror doesn't always have to howl in your face.

Behemoth is as unaccomplished a horror tale—storytelling to presentations—the genre's seen from filmmakers who struggle to locate their defining voice behind the camera.

The Adams family’s latest collaboration Hellbender is a scrappy, spunky satanic coming-of-age tale that’s as homegrown as the definition will allow.

The Sadness is authentically deranged and always hungry for more audience discomfort; what an appetite for deconstruction this movie boasts.

'American Sausage Standoff' succeeds by crystallizing acceptance through food and the translation of dishes as representations of foreign cultures.

A title as lip-smackingly descriptive Demonic surely should bring more to the altar than a bone-beaked plague demon, but I assure you that’s not the case.