Matt Donato

F9 worships at the altar of “family” beyond retcons, resurrections, and more schmaltzy Toretto flashbacks than a Hallmark reboot of the speedster episodic could muster.

Credit We Need To Do Something as one of those impossible to write about yet exciting festival discoveries that are so easy to spoil—so we remain vague.

I struggle with Untitled Horror Movie because it’s never horrifying, nor does this comedic interpretation of screenlife possessions ever desire to scare audiences.

Prano Bailey-Bond's 'Censor' makes a horror film censor the star of her own thrilling tale of dread, death, and movie magic.

If Caveat shares any DNA with Irish horror brethren such as The Hole In The Ground or Without Name, it's a "curio" classification.

'Spare Parts' might charm some through its rock-heavy indie spirits, but it's a wholly unspectacular miss in terms of non-stop slaughterhouse excitement.

'The Conjuring: The Devil Made Me Do It' pulsates with spookiness that successfully ruins water beds, cereal boxes, and kennels for at least the night.

Welcome to Furcas’ “House Of Fun,” where eight C-List celebrities—gossip bloggers to background singers—compete for a chance to win $5 million on a 24-hour livestream.

'The Retreat' is indeed a lesbian slasher in that lesbians are targeted by bigotted rednecks who take the “bury your gays” phrase literally.

John Krasinski's 'A Quiet Place Part II' builds on the basics from the first to become an angrier, larger-in-scope creature feature.

Matt Mercer and Mike Testin's 'Dementia: Part II' pits a handyman against a forgetful old woman who starts to get bitey—made in only a month.

Valene Kane and Amir Rahimzadeh mix diabolical charms and self-sabotaging ethics into a screen life cocktail that’s deceptively sweet then sickeningly bitter in 'Profile.'

While Zack Snyder’s best movie is indeed a zombie thrillseeker, it’s assuredly not 'Army Of The Dead.'

For basic introductions into more vicious nightshades of genre difficulty, The Djinn flips its pages like one of Lucifer’s bedtime fables.

John Berardo's 'Initiation' sharpens both its themes and its tool shed weaponry, as collegiate hookup culture comes under fire with impact.

Karl Holt stresses the comedy in his plushy best-friend nightmare 'Benny Loves You,' which becomes the film's saving grace and letdown in equal portions.

'Things Heard and Seen' is so poignant, so frustrated, and alas, so unfortunately misinformed in how catharsis or empowerment emerge victorious from scalding narratives.

'The Resort' is a one-way ticket to Hawaiian Hell at an uneven seventyish minutes that muffs its paranormal paradise purgatory.

Simon McQuoid's 'Mortal Kombat' reboot hammerfists its way into the hearts.

Chris Baugh’s 'Boys from County Hell' checks all the required boxes while approaching fanged folklore with a revitalized approach that playfully scoffs at historied interpretations.

The Banishing is playing to its audiences—those who demand easily accessible spectral hauntings without much fluff.

What if The Creature From The Black Lagoon spliced with Species and was reimagined as a Lifetime thriller with eco-horror undertones?

You’d expect horrors akin to 'Lights Out' given context clues, but 'The Power' examines alternate representations beyond electrical “power” sources.

As blasphemy becomes The Unholy’s weapon of choice, shoddy computerized graphics and short-burst scare tactics never care to sustain terror.

As Warner Brothers' Monsterverse reaches its Godzilla vs Kong showdown, its evident that lessons learned on past Kaiju brawlers influence Adam Wingard's vision.