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.
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.
Osmany Rodriguez's 'Vampires vs. the Bronx' proves that New Yorkers can handle anything, even neck-biting real estate nightcrawlers.
In Adam Leader and Richard Oakes’ film, “A father with a dark secret unknowingly invites a demonic entity, disguised as his neighbors, into his home to enjoy Christmas dinner with his family.”
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.
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.
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.
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.
As Butcher's squad deals with the new information they've learned, and Vought Industries contronts the Compound V media fallout, those who are meant to protect become the peoples' worst enemies.
Kurtis David Harder’s 'Spiral' cuts through the smiles and pleasantries of suburbia ecosystems for a horror story about how outsiders are still perceived.
Will Wernick's 'No Escape' is about the traps we lay for ourselves, using an escape room as a not-so-quiet metaphor.
'Lovecraft Country' takes the undercover approach to outing racial biases that freely flow when we think others who might be offended aren't listening.
There's a lot of conquering by dividing, as a chance to address lingering subplots for an episode without the typical smash-and-crash destruction.
Il Cho's '#Alive' strips humanity of its digital safeguards and shows how vulnerable we truly are without technological aid.
McG's 'The Babysitter: Killer Queen' is an abysmal follow-up that desecrates the name of Netflix's most unsung horror title.
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