It Hunts 2026 invites you into a bad dream where a night-shift worker’s hallucinations might be possession, or guilt. If you like atmospheric indie horror with a twist, this debut is worth your attention.
Pinocchio Unstrung review: Rhys Frake-Waterfield’s Twisted Childhood Universe entry pairs eerie puppet work with anatomical body horror and a Frankenstein-style morality thread, then stumbles when Geppetto turns on his cause.
We rented Return to Silent Hill 2026 so you don’t have to. It has Giger-adjacent creatures, ash rain, and game-accurate compositions, but zero interest in letting newcomers understand the guilt driving the story.
Above & Below blends real shark footage, cage-dive claustrophobia, and drug-money violence on a cramped deck in the Canary Islands. The logic leaks, but Banderas and the practical shark work keep the pressure on. This review keeps the ending off the deck.
Escape (2023) follows a holiday abduction into a locked-room thriller, but Howard J. Ford’s direction keeps undercutting tension with cheap CGI and deadpan goon banter. Read the Mother of Movies review.
The Last House review: Greta Lee and Wagner Moura lead a slow-burn weather horror aboutan apocalyptic rain, a sealed home, and the hunger that follows. Here’s what hits, what tests patience, and why the lore is a little murky.
