Matt Donato is a Rotten Tomatoes approved film critic who stays up too late typing words for such outlets as What To Watch, Bloody Disgusting, Fangoria, Shudder, Ebert Voices, and countless other publications. He is a member of the Hollywood Critics Association and co-hosts a weekly livestream with Perri Nemiroff called the Merri Hour. You probably shouldn't feed him after midnight, just to be safe.
Claudia Llosa’s ‘Fever Dream’ connects two mothers who both share the common bond of protecting their children at any cost.
Banjong Pisanthanakun’s 'The Medium' takes some of the wildest horror swings you’ll see all year, continuing onward for a supremely devastating length in response to the quieter opening groundwork.
'Chucky' begins with “Death By Misadventure,” both a reintroduction and reinvigoration that continues the killer doll's rampage in Hackensack, N.J.
'Antlers' exists in the nebulous area between vulnerable arthouse horror and primal folklore confrontation.
'Madres' succeeds in spotlighting tragedy under the guise of American ideals gone awry but fails its marriage of culture and horror.
'Slumber Party Massacre' is a remake that gets just about everything right, powered by a cast of final girls who have a few things to say about horror’s canonical treatment of women decades prior.
Axelle Carolyn's 'The Manor' tackles aging as a jumping-off point for eldercare horrors, where dementia is the least of worries.
'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.
'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.
'Black As Night' is a young adult vampire tale that does its best work addressing marginalized minorities but is lacking in energy.
'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.
'Intrusion' is as sanitized and mediocre as housebound thrillers come between polished architectural cinematography and dreadfully dreadless home-invasion-adjacent ambitions.
'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).
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