Frida (2002) and Under the Same Moon (La Misma Luna) (2007), are both focus on Mexican narratives, but they are meant to be an entry point for listeners and provide different types of Hispanic narratives and experiences.

Bad Candy might not have any higher aspirations or deeper thoughts on its mind beyond staging some gory thrills (most of which are pretty impressive considering the smaller budget), but it does often feel a bit smarter than other films in the way it sometimes jumps over horror tropes and delivers clever reveals.

It's James Wan's style through and through, yet more free than it's ever been.

While it still falls into some of the trappings of Marvel's less compelling aspects, it still manages to be a big entertaining time at the movies and an interesting expansion on the larger cinematic universe it's set in.

Just when it seems like vampire entertainment has bled itself dry, along comes something like Jakob’s Wife with the right amount of smarts and gore to bring it back from the dead.

Arguably the strongest of all the recent DC films so far, and a hopeful sign that the studio has a brighter future ahead.

A24 delivers once again with a haunting and challenging deconstruction of the hero’s journey.

Peace, Love, and Rage is an engrossing look at one of the most pivotal cultural events that occurred at the turn of the century, all of the good, the bad, the very bad, and the weird of it.

It's a film with momentum, where both the intensity and the quieter emotional beats ramp up and take the audience to melancholic, terrifying, and enlightening places.

Part of the film's power comes from the uncensored view of the cruelty of it all.

The film may not be one of Marvel's very best, but it shows that the studio still has the ability to wow audiences on the big screen.

Janiak has more than proven to be one of the standout filmmakers of the current slasher renaissance.

A wildly entertaining, surprising and clever film that solidifies Josh Ruben as a creative force to keep an eye on.

Its setup is more tedious than interesting and nearly all of its dialogue is exposition; even emotional moments are just characters explaining something that happened.

It’s a decent enough start, but whether or not the trilogy will expand on its more engrossing ideas will determine if Fear Street can make itself a memorable and fresh addition to the overcrowded slasher genre, or just be content with supplying overdone thrills.

Vicious Fun, the latest horror hit from writer and director Cody Calahan, is one of those rare movies that actually lives up to its title for the most part. Soaked in 80s neon colors and backed by a synth heavy score from Steph Copeland, Vicious Fun is a blood-splattered and comedic homage to slasher films of old, one with a sharp wit and a cast that’s more than game for the gory shenanigans.

An Unquiet Grave is a chilling tale of grief, guilt, and the consequences of refusing to properly deal with those feelings. There’s no shortage of these kinds of stories, certainly not in the horror genre, but director Terence Krey’s feature-length debut shows that there’s still room for them to be effective.