Matt Donato

Zu Quirke's 'Nocturne' pushes a developing pianist to the brink with the discovery of a possibly satanic string of notes.

Elan and Rajeev Dassani's 'Evil Eye' is another less than hospitable welcome into Blumhouse's partnership with Amazon, lost to the mundanity of a long-distance chiller.

Albert Pintó's '32 Malasaña Street' cuts short the bliss felt by new homeowners when a presence with unfinished business appears.

Kimo Stamboel's 'The Queen Of Black Magic' puts a spell on audiences that lures them into a horrifying bout of ritualistic revenge.

Alister Grierson's 'Bloody Hell' puts the "Hell" in Helsinki.

As The Boys takes its Season 2 bow, conflict brews within this critic first, fan second. Mysteries beget answers, justice enacted, and bleakness sustained.

Jim Cummings' 'The Wolf of Snow Hollow' uses horror highlights to heighten cop procedural architectures, pitting "the fuzz" against...well, more fuzz.

Damien LeVeck's 'The Cleansing Hour' exposes a fraud in God's flock by live-streaming one fake father's first real demonic encounter.

Veena Sud's 'The Lie' makes a lot of choices, we'll say, and most of them are baffling.

Emmanuel Osei-Kuffour’s 'Black Block' turns one amnesiac's subconscious into a battleground where the only path to self-reclamation involves pain.

Amelia Moses' 'Bloodthirsty' is a story about finding yourself, your true voice, while also commenting on the wolves who hide in the music industry.

'The Boys' is nearing its season finale, and hopefully the explosive ending to 'Butcher, Baker, Candlestick Maker' is just the prelude to something that packs an even louder finish.

As a millennial romantic comedy, and as an end-of-days alien invasion event, 'Save Yourselves!' is a one-trick pony.

Jill Gevargizian's 'The Stylist' takes the normalized act of trusting someone with scissors to snip around your neck and goes the horror route.

No, Scare Me will not scare you. Yes, Scare Me will positively delight audiences through exemplary on-the-spot campfire tales and improvisational hallmarks.

Darren Lynn Bousman's 'Death Of Me' is a horror story about tainted cups and unbreakable curses, told from an outside perspective as to accentuate how traditions are kept alive when stoked in containment.

Brea Grant’s '12 Hour Shift' is about how there ain't no rest for the wicked, the innocent, or anyone caught in between when halfwit organ traders screw the pooch.

Possessor’s appeal worships the unknown. Brandon Cronenberg pushes viewers off a ledge, as we hurdle into his body-jacking assassination narrative without any stabilization.

The Boys, indeed, blew “The Bloody Doors Off” tonight. Let’s dive into how Amazon’s superhero dystopia remains scarily relevant and unapologetically accusatory.

I can’t believe we live in a world where 'Cats' will be immortalized through endless cult screenings, yet 'Verotika' won’t indulge a legacy past, well, whenever it leaves Shudder.

'Lovecraft Country' takes us on a foreign journey for an episode that properly introduces Ji-Ah (Jamie Chung) and her, uh, peculiar habits.

Sometimes, movies come into our lives when we need them most. Such a scenario might explain my ugly crying through the exit monologue in Brian Duffield’s Spontaneous.

Antonio Campos’ 'The Devil All The Time' is a parade of immorality that lacks depth, surely never giving the devil his due respect.

Rob Grant's Alive took even me, the "100 horror reviews a year" guy, by surprise. Such a monstrously different beast from last year's breakout 'Harpoon,' jettisoning comedy for body horror nastiness.