REVIEW: Shudder Original ‘The Beach House’ (2020) is Neither Scary nor Memorable

Although The Beach House has all the ingredients of a smart low-budget terror, it has none of the bite.

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REVIEW: ‘Fanny Lye Deliver’d’ (2019) is an Offbeat Feminist Folk Horror

A comic folk horror that erupts into a feminist story of woman’s rebirth and fiery retribution.

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REVIEW: ‘Z’ (2020) is an Imaginary Friend from Hell

Z is an entertaining, competently shot exploration of parental fears and the vivid imagination of children.

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30 Years On, Twin Peaks Proves That It’s Damn Fine to be Weird

In an era where a lot of things feel and look the same, based on templates for success, churned out as quickly as they can be made, how could you not cherish something as defiantly different as Twin Peaks?

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Review: ‘The Wolf Hour’ (2020) Naomi Watts Melts Away in Half-Baked Thriller

June’s self-imposed exile amidst a city going mad under the sun and in the shadow of a serial killer is perhaps a strange inversion to the current global isolation gripping the world.

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REVIEW: ‘Color Out of Space’ (2020) A Technicolour Wonder of Cosmic Horror

From the producers of Mandy, Color Out of Space is a technicolour wonder of cosmic horror and Nicolas Cage insanity.

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REVIEW: ‘Dark Waters’ (2020) Ruffalo Shines in Todd Haynes’ Bleak Legal Drama

Dark Waters is a little too pedestrian to catapult it into greatness, but it has strong performances and an even louder message.

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Review: ‘Locke and Key’ (2020) is a Tame Adaptation and Missed Opportunity

In the show’s best moments, magic and reality come together to explore the nature of grief and how to overcome it.

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Review: HBO’s ‘The Outsider’ is slow and predictable, but curiously watchable

It’s rough around the edges and not original, but it’s also curiously watchable, and sometimes that’s enough.

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