John Hansen

Endless Night

‘Endless Night’ (1967) shows the ‘happily ever after’ … not so happily 

Sleuthing Sunday (Book review): Rightly labeled as one of Christie’s “horror” novels, “Endless Night” is light on killings, but drenched in foreboding.

The Ring Two

‘The Ring Two’ (2005) an inferior, CGI-dependent sequel 

Frightening Friday (Movie review): The returning star and writer aren’t enough to make “The Ring Two” ring true as a worthy sequel.

Clerks III

Smith taps funny bone, tugs heartstrings in ‘Clerks III’

Movie review: Writer-director Kevin Smith makes not merely a nostalgia-fest, but his flat-out best film in a long time.

Barbarian

‘Barbarian’ a wild ride with scares big and small

Movie review: Zach Cregger gets on the map with a candidate for 2022’s best horror film – as he comments on the less savory side of living in ’22.

Damien

‘Damien’ (2016) gives ‘Omen’ lad more adult struggles 

Six weeks of ‘The Omen’: This nice-looking, inconsistently written series gives Damien more robust internal strife against his dark destiny.

A Murder is Announced

‘A Murder is Announced’ (1950) a vintage ‘cozy mystery’ 

Sleuthing Sunday (Book review): Agatha Christie didn’t write as many cozy village murder mysteries as the stereotype suggests. But this is one of them.

Hellraiser 2022

‘Hellraiser’ still has plenty of (Ceno)bite in 11th entry

Movie review: The Clive Barker saga (which began with the 1987 classic) gets a serious and slick fresh take after a slew of cheap sequels.

Kolchak Lovecraftian Horror

‘Kolchak’ files ‘Lovecraftian Horror’ (2007) for publication too quickly 

‘Kolchak’ flashback (Graphic novel review): Writer C.J. Henderson and artist Jaime Calderon collaborate on a solid but typo-filled slice of monster-noir.

House of Darkness

‘House of Darkness’ an engaging ‘meet (not so) cute’

Movie review: Strong performances by Justin Long and Kate Bosworth drive Neil LaBute’s quick horror riff that feels like a stage play.

The Midnight Club

Flanagan goes YA for ‘Midnight Club,’ but never fear – it’s still good

TV review: The switch to young-adult source material doesn’t mean Mike Flanagan’s high bar has been lowered. This is another artistic mix of heart and horror.