Bee Delores

Led by Jane Schoenbrun, Adrian Chiarella, and Addison Heimann, a new wave of horror filmmakers strives to explore long-suppressed queer narratives that tear straightness limb from limb.

From Peeping Tom to Frankenhooker, these movies feel ripe to be revisited from a contemporary perspective.

With recent titles like Weapons and Sinners dominating the box office this year, it seems like the reign of sequels and remakes is coming to a grisly end.

Ryan Coogler’s film undoubtedly proves that moviegoers are hungry for original stories made by Black filmmakers that go much further than skin-deep assessments of history and culture.

From Get Out to I Saw the TV Glow, the past decade has been rife with thought-provoking sociopolitical commentaries on issues of bigotry familiar to our current reality.

After a stratospheric year on the charts and dominating music festivals, the newly minted star may signal a vital turning point in how we treat and identify with celebrities.

Charting the history of the slasher archetype from Psycho and Peeping Tom in the 1960s to Adam Wingard’s much-needed revival of the horror subgenre in 2011.

With Miramax recently winning the bidding rights to the iconic horror franchise, here’s hoping its next chapter as a TV series takes some major risks.

With the actor/writer-director’s Barbie currently shattering box office records, we look back on Gerwig’s memorable supporting role in Ti West’s cult 2009 hit The House of the Devil.

The filmmakers behind recent titles such as Halloween Ends, Creep, and 2022’s Texas Chainsaw Massacre reboot consider why slashers have become all the rage again.