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.
Kevin and Matthew McManus' 'The Block Island Sound' chums calm waters to bring forth unrest, uncertainty, and underwater fears that surface to suspicious degrees.
Amazon's 'The Boys' returns to action and not much has changed, which should please fans of this gruesome superhero satire.
Bush and Renz's genre exercise evokes the nationalistic sins of America’s past in the context of our lived-in political climate, where “Black Lives Matter” echoes from coast to coast.
Bryan Bertino returns to 'The Strangers' form in 'The Dark And The Wicked', a movie that purifies, quadruple-distills, and bottles true evil.
Anthony Scott Burns’ 'Come True' explores the science of sleep and the horrors of our own subconscious through the dissection of nightmares.
Samantha O'Hara (Megan Fox) leads a team of deadly freelancers on an Africa extraction mission. When their operation is compromised, they seek refuge at an abandoned farm where a lioness still lurks.
'Bleed With Me' is a character-driven thriller simplified by backwoods rusticity, reclusive self-convincing, and suspicious hospitality where questions outweigh answers.
John Hsu's 'Detention' pits the terrors of 1960s Taiwanese fascism against a purgatorial world where corpselike guardians uphold oppressive rules.
Those of you who picked August 2020 in your “Movie Theater Reopening” pools, reap those rewards. Megaplex chains are welcoming patrons back into auditoriums once again, but maybe they shouldn’t be.
Cody Calahan’s 'The Oak Room' pulls up a stool and imposes tension through spoken words, showing the importance of good barroom banter.
Genesis Rodriguez stars as Naomi, and Vincent Piazza as Matt, a couple who’ve awoken in their automobile to find every exist sealed and frozen shut.
Elza Kephart’s 'Slaxx' is a skin-tight slasher that turns an inanimate object into something vicious and stylish.
Adam Rehmeier’s 'Dinner In America' is worth every course, but gets more delicious the farther it gets into its angsty outcast menu.
'Unhinged' is certainly a horrifying scenario, but that doesn't translate to impenetrable dread or excitement when your message is so lacking.
Ryan Spindell's horror anthology is everything we miss about 70s and 80s genre content, drenched in gallons and gallons of blood (plus other juices).
Yeon Sang-ho's 'Peninsula' explores a grander apocalyptic world outside 'Train To Busan' with the same invigorated spirit.
Jay Baruchel takes aim at arguments over violence in media but comes up short of raising any new points amidst careless carnage.
Luis Iga’s all-Latinx slasher nails horror representation, but lacks the staying power of far more successfully inspired murders in wooded areas.
Why are the best video game movies never based on existing video game properties? 'Scott Pilgrim Vs. The World' is the most successful example of “video game cinema” done infinitely right?
Egor Abramenko's Cold War era stunner makes the most of exploiting humanity's darker side through its treatment of alien outsiders and war-based motivations.
Eugene Kotlyarenko’s 'Spree' is a whimpering condemnation of online cultures that uses ridesharing as a deadly tool.
Andrew Traucki's sequel raises the stakes by taking the crocodile horrors of 'Black Water' and introducing an element of closed-in panic.
Join us as we blast our way through the Resident Evil movie franchise, from exciting action highs to brainless zombie lows.
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