Matthew Jackson

DaCosta arrives in the world of 28 Years Later with confidence, swagger, and infectious energy, delivering 28 Years Later: The Bone Temple — one of the best horror sequels in recent memory, and a must-see horror film for 2026.

Vanderbilt’s film slowly, confidently morphs into something beyond a cautionary tale and more like a klaxon blaring through the cinema.

It's another triumph from a singular voice in cinema, and another Lanthimos movie you sort of never see coming.

With Deathstalker, Kostanski attempts to bring his loose, gleeful style to the sword and sorcery genre, and mostly succeeds, giving us another midnight movie essential.

The greatest success of The Baltimorons, aside from how effortlessly funny it is, lies in its focused thematic weight, wrapped up in its setting.

The Rule Of Jenny Pen‘s willingness to constantly challenge its audience with shadows and hints rather than some kind of outright horror mythos is one of its great strengths, and Rush embodies that with intense, compelling control.

Violent, laugh-out-loud funny, and often cartoonishly macabre, The Monkey is everything "Longlegs" is not, and yet it fits perfectly in Perkins' larger body of work. And like "Longlegs," it's a horror experience that should not be missed.

Though Quan and his supporting cast are often a delight, and the film’s fight scenes are worth strapping in for, this is a movie that makes a choppy mess of its brisk runtime, and wastes a lot of its potential with a molasses-slow, often baffling second act.

Anchored by Diaz and Foxx's combined star power and a general sense of pleasantness that never fades, it's a solid little action-comedy with a bit of family fun at its core. The bad news, if you want to look at it that way, is that there's not much else there, leaving the film a hollow, though pleasant, experience.

Eggers' Nosferatu is a beautifully crafted, endlessly compelling nightmare that will envelop you in its shifting, writhing darkness and simply refuse to let go. It's one of the best horror films of the year, and represents a new level of ambition and craft from one of our best horror filmmakers.

Divisiveness aside, and despite a few stumbles in pacing as it pivots from cool premise to interesting conclusion, Heretic is a wonderfully effective, chilling thriller from two of the best genre storytellers currently in the game.

Who we really are versus who we hope we are is a source of phenomenal dramatic tension in any genre. Throw in some horror concepts and some scary atmosphere and you’ve got what’s (hopefully) a compelling concoction about the fear of facing your true self, and the fear of learning those closest to you aren’t who you thought they were.

Built from the same little monster framework as stuff like the Gremlins and Critters series, Frankie Freako is an unapologetically weird, esoteric ride through a very particular kind of ’80s movie, complete with what feels like an absolute suspension of the rules of reality. That makes it, at minimum, refreshing, and at its best, wildly entertaining.

With its unexpectedly moving sights, remarkable voice ensemble, and pure clarity of humanist vision, The Wild Robot emerges as a stunning achievement.

While other V/H/S installments have sometimes been scattershot, united by format and time period more than anything else, V/H/S/Beyond holds together almost perfectly as a thematic exploration of the things lurking just beyond our understanding.

The results are mixed, but while Hell Hole is not the family’s best film, it is proof that they’re still among the most fascinating and consistently entertaining players in the horror game.

While "Romulus" is a bit overstuffed, it's also never boring, and at its best it's one of the scariest rides you can take at the movies this summer.

Starve Acre is not one of those horror films that everyone going in blind will enjoy. It’s not a crowd pleaser or a popcorn thriller. It’s a steady, methodically engineered, beautifully realized meditation on the slow, persistent sting of grief, and a gentle unearthing of the things we bury deep in our souls.

It’s got great tension, great characters, and great jump scares, and it cements Mc Carthy’s place as a major new voice in horror.

Everything about it, from the performances to the production design to the sickly quality of the light in scene after scene, is designed to make us not just question what we’re seeing, but stand at a remove from it, like we’ve just seen a wild animal behaving strangely. Like that wild animal might just lash out and bite us if we get too close.

While some of the old magic might be a little lost in translation, "Beverly Hills Cop: Axel F" still manages to deliver just about everything we could have hoped for from a legacy sequel in this franchise. It's funny, it's action-packed, it's got heart, and it's got Eddie Murphy proving once again that he's still got it. What more could you want?

It's a great time at the movies for slasher fans, '80s pop culture fans, and Mia Goth fans alike, and even with a few stumbles in mind, it manages to stand as one of the summer's must-see films.

The Beast is a monster of a movie, one that will sink its claws into you, then ask you to contemplate the wounds it leaves. It’s not an easy watch, but it is a deeply rewarding one that you’ll be thinking about for days.

It’s solid, and at its best it’s an impishly entertaining little thriller. But all the talent in the world can’t overcome the feeling that there is more here to be mined, if only Humane had dug just a little deeper.

Abigail is a brutal, bloody blast.

Forget what you think you know about horror prequels. The First Omen gets it, goes for the throat, and never lets go.

Uneven and sometimes predictable though it is, it’s a film that knows how to push the buttons of its particular subgenre, and you get the sense that any number of stars might have been able to carry it in the right context. You also get the sense, from the very first moment she’s onscreen to the unforgettable final frame, that none of those other possible stars could have carried it quite as well as Sweeney.

Late Night With The Devil achieves that rare feat of feeling like something we were never supposed to see. But once we’ve seen it, we can’t look away.