There is something to be said for walking into something without expectations. I wasn’t expecting much from Everly, I had no clear conception of what

Electric Boogaloo completes Mark Hartley’s trilogy on the secret history of exploitation cinema in fine fashion. Like Not Quite Hollywood and Machete Maidens Unleashed, it’s

Get ready to party like its 1995. Remember how it was after Pulp Fiction came out? When suddenly a gangster film couldn’t just be a

The trick to reading Joe Hill‘s Horns is to understand that it is a farce rather than a horor novel for most of its page

To say I loved David Robert Mitchell’s It Follows is something of an understatement. I’ve become evangelical about it. Stopping just short of accosting random

Hayao Miyazaki’s retirement received plenty of press attention this year, being one of the most beloved filmmakers in the world will tend to have that

Horror as a genre has become so self reflexive that it threatens to make itself obsolete out of love. I feel like with Cabin In

Tusk opens with a disaster; a video that starts as a gag and ends with a cataclysmic fuck up. Tusk itself follows suit. A film

No Man’s Land plays like a Sichuan version of Jim Thompson (with a soupcon of James M. Cain). It begins as a fairly standard story

As I wrote in my earlier reviews the two elements that make Gravity Falls a genuinely great all ages show, as opposed to a fun

“Think larger. Redraw what is possible.” The Bone Clocks, David Mitchell These words come from the mouth of a villain in Bone Clocks, but if they’re

Season One of Arrow ended on a fairly ballsy note, not with its hero triumphant but a failure on pretty much every possible level. While

“Loved Ones” ended up being another wheel spinner for The Strain, though at least it didn’t feature a misstep as egregious as the reveal of

The Drop is probably destined to be regarded as minor Lehane, but even a minor work by one of the best storytellers writing today is more than worth paying attention to.