There are films that dare you to tap out, and then there are films that dare you to stay open. Touch Me very firmly belongs to the latter category. Addison Heimann’s psychosexual sci-fi horror comedy is loud, horny, emotionally sincere, and deeply strange, and somehow all of those things coexist without the movie collapsing under the weight of its own ambition.
Read MoreBlood, Guts, and Barney: Buddy Is a Children’s Show From Hell
If you are already infected with the Too Many Cooks brain rot, you know exactly what wavelength this thing is operating on. Buddy is a full-length escalation of that same impulse, the idea that familiarity is the scariest thing in the room and that children’s television is essentially a hostage situation waiting to happen. This is Barney filtered through Adult Swim nihilism, filtered again through blood, puppets, and a screaming existential crisis.
Read MoreImposters Is Saved by Jessica Rothe and a Strong Finish
There is a moment at the very beginning of Imposters where I leaned forward in my seat, ready to lock in. The opening carries a quiet, unsettling tone that immediately reminded me of Frailty, which is high praise considering how wildly underrated that film still is. That initial mood promises something intimate, sinister, and emotionally raw.
Read MoreIt Follows You Because You’re Gay: Leviticus Absolutely Wrecked Me
The opening stinger hits immediately, not with a jump scare but with intention. From the first seconds, Leviticus makes it clear this is not a normal horror story. It is patient, confident, and deeply uncomfortable in a way that feels deliberate rather than indulgent.
Read MoreThe Woods Remember: Rock Springs Is Horror Built on Grief
Rock Springs is one of those SXSW discoveries that feels like it crawled out of the woods behind the theater and followed you home. It is quiet, strange, often uncomfortable, and soaked in grief. It is also deeply ambitious.
Read MoreSecrets Are Better on Disc: Talamasca Season 1 Comes Home
There is something oddly satisfying about seeing Anne Rice’s Talamasca: The Secret Order land on physical media. A show built around secrecy, archives, and centuries of guarded knowledge feels right at home on a shelf rather than floating in the algorithmic ether. Season 1 is now available on Blu-ray and DVD, courtesy of Acorn Media International, with the full run also available to buy and keep digitally.
Read MoreOBEX: When Black Mirror Collides With Tron’s Analog Nightmare
OBEX is the kind of movie that feels like it crawled out of a dusty computer lab at 2 a.m., humming with static and bad ideas in the best possible way. It is lo-fi, deeply analog, aggressively strange, and proudly uninterested in smoothing out its rough edges. In an era where nostalgia is usually sanded down and sold back to us by algorithms, OBEX makes nostalgia feel uncomfortable again.
Read MoreGore Verbinski Comes Back Swinging With a Batshit, Brilliant Time-Loop Nightmare
There is a moment early in Good Luck, Have Fun, Don’t Die where Sam Rockwell barrels through an 11-page monologue, soaked in sweat, paranoia, grief, and caffeine, and you either buy in completely, or you check out forever. Gore Verbinski knows this. The film knows this. It dares you to get on board, and once you do, it never looks back.
Read MoreBrad Anderson's Worldbreaker Finds Beauty, Fear, and Frustration in Survival
Brad Anderson’s Worldbreaker opens with a premise that feels intentionally stripped down. A father and daughter living in isolation after the collapse of the world, training not for hope but for inevitability. It is a setup that immediately recalls post-apocalyptic touchstones like A Quiet Place, but Anderson is less interested in constant escalation than he is in mood, restraint, and unease.
Read MoreFrom Fine to Frenzied Perfection: Re-Animator Lives Again
There was a time when Re-Animator didn’t fully click for me. I thought it was good, fun even, but it didn’t immediately register as the genre-defining classic so many swore by. That changed with repeat viewings.
Read MoreOf Starlight (2011)
Of Starlight is a moody, slow-burning noir that leans hard into atmosphere, inviting viewers into a neon-drenched world where memory, love, and reality bleed together. Michael DeMasi’s direction is confident and visually striking, crafting a city washed in artificial light that feels both dreamlike and suffocating — a perfect backdrop for Christopher Spare’s weary investigator as he chases a disappearance that keeps slipping just out of reach. The film’s strengths shine through its hypnotic visuals, thoughtful pacing, and a synth-driven score that recalls the cool melancholy of Blade Runner or Ghost in the Shell.
Read MoreTrail Cam Sasquatch (2025)
Trail Cam Sasquatch, directed by Mark Polonia, sets out to deliver a tense survival horror experience in the deep woods of Pennsylvania, where strange sightings of hairy creatures and UFOs have the region on edge. The premise is intriguing: a stranded woman joins a hunting party, and what begins as a routine trip quickly turns into a fight for survival against savage Sasquatch creatures. The film’s atmosphere is one of isolation and creeping dread.
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