After adapting two Agatha Christie classics – “Murder on the Orient Express” and “Death on the Nile” – with an edgier, darker version of Poirot,
“The Texas Chain Saw Massacre” (1974) has one of the messiest horror-franchise continuities, with each of the co-creators trying their own narrative continuation: one in
The Demon Nun’s superpowers include a knack for popping up to do jump scares, and when the third act comes, she can possess people. But
“Hellraiser” is an oddball among horror franchises, starting with idiosyncratic gore-horror from the writings of Clive Barker, ranging into straight-to-video films where Pinhead (Doug Bradley
If the possession experiences in the “Exorcist” films aren’t gross enough for you, along comes the Spanish-language Argentine production “When Evil Lurks” (Shudder). The relatives
Hollywood will eventually use AI to write some movie scripts, and if you want a sneak preview of what that will be like, check out
“28 Days Later” (2002 in the U.K., 2003 in the U.S.) fast-tracked zombies back into the mainstream for a new century. Director Danny Boyle and
I have to give writer-director George Romero credit for this much: No two of his “Living Dead” films are quite like each other. He can’t
Credit “Insidious: The Red Door” for getting the casting right: Ty Simpkins, a child actor in “Insidious” (2011) and “Insidious: Chapter 2” (2013), returns as
For his fifth “Living Dead” film, writer-director George Romero redefines (or clarifies) his franchise as an anthology. Rather than continuing further into a zombie-dominated future