Suspense and catharsis are mined from the same place in Jeffrey Brown's plodding horror/drama.

Travis Stevens's movie starts out narratively straightforward before shifting into another thing entirely, with the force of a snapping bone.

Director Alex Phillips has devised a 72-minute movie that probably can't be compared to much else, and that certainly won't be for everyone.

The feature debut by Michelle Garza Cervera is most engaging when it drills down into starkly human anxieties.

This amusingly grim Sundance stunner arrives on Shudder this week, and ruptures through the limits of fiction when it’s at its best.

Powerhouse performances make this moderately deranged story about past demons and inner demons one to watch.

Viggo Mortensen and Léa Seydoux dig into themselves – literally – and search for meaning along the edge of humanity's next chapter.

Stephen King's 1980 novel about a girl cursed with pyrotechnic abilities is adapted by a team eager to revise and failing to justify themselves.

This Norwegian horror-drama has ice in its veins, but also extends a hand of empathy towards its vulnerable young ensemble.

Hanna Bergholm's feature directorial debut is devilish, thematically tangled slice of creature-feature grotesquerie.

Writer/director Jane Schoenbrun channels the anxiety, spontaneity and strange solace of living online in her ultratense feature debut.

Ruth Paxton's feature directorial debut is a feast of mood let down by its distracted plot.

The first feature from writer-director Edoardo Vitaletti takes some of the best lessons from "The Witch," but its narrative is missing momentum.

Sean King O'Grady's feature debut is a nasty bit of limited-perspective horror dulled by dramatic slightness during a maybe-apocalypse.

The grimy history of mania targeting violent art lays the foundations for this adequate movie, but its most interesting ideas are left at the door.

If you're looking for minimal, unpredictable counterprogramming to the blockbuster scale of "The Conjuring 3," "Caveat" will do spooky wonders.

If there’s one thing Wheatley excels at, it’s starting from a place of benign normalcy and ending somewhere so irrevocably contradictory you’d think the director had a chronic case of change-of-heart midway through his productions.

An intriguing but narratively self-defeating mash-up of “Stranger Things,” “Inception” and stark ‘80s paranoia, “Come True” – the second feature directorial effort from Anthony Scott Burns – puts a ghoulish spin on cinema’s defining ability to turn the audience into voyeurs.

Natasha Kermani's new movie has whiffs of belonging in the busy time-loop subgenre, but it turns those attributes into a commentary that's all its own.

Writer-director Jordan Graham did much more than write and direct over the seven-year production of “Sator,” his effectively creepy and unexpectedly personal backwoods tale.