Matt Donato

Paul W.S. Anderson's 'Monster Hunter' opens a world of mysticism, larger-than-life monsters, and more fun than you'd expect to have with this fight-first thrill ride.

Shawn Linden's 'Hunter Hunter' pits Devon Sawa against a wolfy at his doorstep, but more evil lurks in the woods than anticipated.

This Christmas, Shudder is stuffing your stockings with A Creepshow Holiday Special. Greg Nicotero writes and directs “Shapeshifters Anonymous,” reportedly based on a short story by J.A. Konrath.

Adam Mason’s ‘Songbird’ is a COVID-crisis imagining that’s more romantic thriller than containment chaos, albeit not that proficient at either.”

Adam Egypt Mortimer's 'Archenemy' is an anti-Marvel movie that pops with sorrow and regret, but feels incomplete or slight as a hero's mortal reboot.

Tate Steinsiek’s 'Castle Freak' is an aesthetically unappealing remake that relies too heavily on bare breasts and bonkers storytelling motivations without fluid conceptualizations.

The deaths are gratifying, the humor bites back, and horror wits are sharp as daggers in Christopher Landon’s Freaky . To quote Die Antwoord, “I fink u freeky and I like you a lot.”

Justin G. Dyck's 'Anything for Jackson' proves that summoning the undead is anything but a young persons' game.

What if 'The ABCs Of Death' spun-off a holiday special? That’s 'Deathcember,' a Christmas horror anthology that acknowledges Ant Timpson and Tim League for inspiring this December genre disaster.

Ben Falcone’s 'Superintelligence' is a disappointing rom-com about living life like artificial intelligence is about to eradicate existence as we know it.

Chad Faust's 'Girl' pits daughter against father in this bloodline brawl that only gets more intricate and twisted by the scene.

Kazuya Shiraishi's 'The Blood Of Wolves,' now streaming on Shudder, draws all the right comparisons to movies like 'Infernal Affairs' and 'The Departed.'

Eshom and Ian Nelms' 'Fatman' imagines a world where Santa is forced to accept a government contract to keep his workshop from closing, at the same time an assassin is hired to kill "The Fatman" for giving a brat coal for Christmas.

Yoon Een-Kyoung’s 'Lingering' brings two siblings together by first trying to tear them apart in a haunted hotel.

Joe Marcantonio's 'Kindred' ponders the worth of an expecting mother through the lens of horror cinema by forcibly removing free will.

The pull-quote description for Alastair Orr's Triggered is Saw meets Lord Of The Flies meets Battle Royale. Sounds rad, right?

Bartosz M. Kowalski's 'Nobody Sleeps In The Woods Tonight' takes the same slasher architecture you've seen a million times over, and slaps on a fresh coat of international paint.

Remi Weekes’ 'His House' is a triumph of terror that's tethered to the experiences of those seeking asylum and the hellishness they endure.

Jacob Chase’s 'Come Play' unleashes a monster from behind your device screens, one that's always watching when we think we're alone.

Timo Tjahjanto's 'May the Devil Take You Too' summons almighty evil once more, this time in an orphanage where the kids weren't alright.

The first Norwegian Netflix production, Jarand Herdal's Cadaver, is performative class warfare in the key of The Platform or Cannibal Club.

Michael Matthews' 'Love And Monsters' pits Dylan O'Brien against maneaters who stand in the way of his forever crush.