Trailer Time: you are not supposed to be in the teaser for kane parsons’ ‘Backrooms’

The teaser trailer for A24 and Kane Pixels’ ‘Backrooms’, one of the most anticipated horrors of the year, is here!

Saturday at the Movies: Sook-Yin Lee’s ‘Paying For It’ Is A Non-Traditional Love Story Brought To Life

Sook-Yin Lee’s ‘Paying For It’ adapts Chester Brown’s graphic novel in an honest and authentic way while using her deft directing to explore unconventional relationships

Saturday At The Movies: Expect The Unexpected in Osgood Perkins’ ‘Keeper’

Osgood Perkins’ latest, ‘Keeper’ feels like a couple of decent performances, mostly-cheap scares, and decent but confusing VFX in search of a story.

Saturday at the Movies: Reflections of a Reflection in Hélène Cattet and Bruno Forzani’s ‘Reflection in a Dead Diamond’ (Toronto After Dark Film Festival)

Hélène Cattet and Bruno Forzani’s ‘Reflection in a Dead Diamond’ favours style over substance. But it might be better for it.

31 Days of Horror 2025: It’s Gonna Be May (2002)

Discover why Lucky McKee’s ‘May’ (2002) is one of Sachin Hingoo’s perennial favourites and a Spooky Season mainstay.

31 Days of Horror Trailer Time: ‘Scream 7’ and a New Generation of Ghostfaces

Trailer Time: ‘Scream 7’ takes the franchise back to its roots with a returning Kevin Williamson, Neve Campbell, and Courteney Cox!

31 Days of Horror 2025: Izzy Lee’s ‘House of Ashes’ is a Gripping, Timely Nightmare

Izzy Lee’s feature debut ‘House of Ashes’ is a compelling treatise on bodily autonomy and grief while delivering some disturbing imagery that may be natural, supernatural, or some combination of the two.

31 Days of Horror 2025: Rod Blackhurst’s ‘Dolly’ and the Comfort of the Extreme (Fantastic Fest, 2025)

Rod Blackhurst’s ‘Dolly’ treads familiar French Extremity ground on the way to delivering a dark and depraved tale that’ll stick to your disembodied ribs.

Review: Paul Thomas Anderson’s ‘One Battle After Another’ Redefines the Master

Paul Thomas Anderson’s ‘One Battle After Another’ is a funny, brilliant, surgical satire of authoritarian fascism and one of the year’s best.