review
It Feeds
Summary
It Feeds follows therapist and psychic Cynthia Winstone as she encounters a malevolent entity attached to a new patient, Riley, sparking a terrifying series of events. While the film delivers striking visuals and a creepy creature design, its plot suffers from disorganization and mismatched stylistic choices. Despite its flaws, the film marks director Chad Archibald as a promising talent in horror.
Cynthia Winstone (Ashley Greene) is a therapist and psychic medium who helps her patients recover from past trauma. Her daughter, Jordan (Ellie O’Brien), works as her assistant, though she’s unsure if she’s inherited her mother’s abilities. Her father, also a medium, tragically died due to negative forces.
One afternoon, a distressed girl named Riley Harris (Shayelin Martin) arrives at their home, desperate for help. Her father, Randall (Shawn Ashmore), was referred to Cynthia by a former patient, Agatha (Juno Rinaldi). While Jordan begins taking Riley’s case history, Cynthia enters the room and is immediately horrified by the entity feeding off Riley. Refusing to treat her, Cynthia is visibly shaken—relieved when Randall suddenly arrives to take his daughter away. But Jordan can’t shake the encounter, and what follows is a dark and dangerous confrontation with both supernatural and human threats.
Writer and director Chad Archibald shows promise in the horror space with It Feeds. While the film has moments of tension and visually striking effects—particularly the demonic entity, which is genuinely unnerving for horror newcomers—the narrative often feels cluttered and chaotic. It tries to juggle too many elements, losing focus in the process.
One major distraction is the baffling costuming. In pivotal scenes—especially during confrontations with the entity—the Gothic wardrobe choices for Cynthia and even Riley feel out of place and unintentionally comical. These costume choices don’t serve the story and feel like a misplaced attempt at visual flair that ultimately detracts from the atmosphere.
It Feeds comes across like a mix of Insidious, It Follows, and The Conjuring, tossed together in hopes of capturing that familiar formula. With a more streamlined plot and clearer direction, it could have been much more effective. The acting is decent but doesn’t particularly stand out, though the creature design is a clear highlight and arguably the strongest part of the film.
Final Verdict
While It Feeds may satisfy those new to horror, it doesn’t bring much innovation for seasoned fans of the genre. That said, Chad Archibald’s potential is clear. With a tighter script and more focused vision, his future projects could be well worth watching. I’ll definitely be keeping an eye out for what he does next.
Summary
A farm boy reluctantly becomes a member of the undead when a girl he meets turns out to be part of a band of vampires who roam the… — Horrortainment News
While Synapse FIlms’s announcement might be an April Fool’s prank, our review of Near Dark is not.
Kathryn Bigelow’s “Near Dark” is a masterclass in blending horror and action, creating a thrilling ride that will leave you breathless. This 1987 gem boasts outstanding performances from its talented cast, including Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton, and Jenette Goldstein.
The film’s pacing is expertly crafted, slowly building tension as our protagonist, Caleb, finds himself entangled in a world of modern-day vampires. The chemistry between the leads is undeniable, making their characters’ interactions all the more believable and unsettling. As the stakes rise (yeah, we went there), Bigelow’s direction ensures that the action scenes are both intense and well-choreographed.
What truly sets “Near Dark” apart, however, is its unique take on vampire lore. By stripping away traditional Gothic trappings, Bigelow creates a sense of realism that makes the horror all the more palpable. The vampires here are not romanticized or sympathetic; they’re brutal, animalistic, and terrifying.
With a gore level that’s “just right,” “Near Dark” is sure to satisfy fans of the genre without becoming gratuitous. Overall, this cult classic is a must-see for horror enthusiasts of all experience levels. So, buckle up and hit the open road with “Near Dark” – but be prepared for a wild and unforgettable ride.
Summary
A man and his son arrive at a rave lost in the mountains of Morocco. They are looking for Marina, their daughter and sister, who… — Horrortainment News
While Oliver Laxe’s Sirāt is not a horror film, it’s also not a film for the faint of heart—or the conventional horror fan. It’s an unsettling, immersive experience that defies genre expectations, blending dread with an experimental narrative style that will leave even seasoned viewers questioning what they’ve just witnessed. Set against the stark, unforgiving landscape of Morocco’s mountains, the story follows a father and son searching for his missing daughter amid a haze of rave culture and existential dread.
The film’s pacing is deliberately unhurried, allowing tension to build slowly but relentlessly. Laxe’s direction emphasizes atmosphere over plot, creating a sense of unease that lingers long after the credits roll. The cast, led by Sergi López, delivers performances that feel raw and authentic, grounding the surreal elements in human emotion.
While the film’s structure may alienate casual viewers, those willing to embrace its avant-garde approach will find themselves deeply moved. Sirāt is a film that demands patience and an open mind, rewarding viewers with a visceral, unforgettable experience that blurs the line between reality and nightmare.
A bold, unsettling journey—essential viewing for fans of experimental cinema.
Film Details
| Director | Oliver Laxe |
|---|---|
| Cast | Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou, Abdellilah Madrari, Mohamed Madrari |
| Runtime | 115 min |
| Rating | R |
| Country | Spain, France |
| Budget | $7,000,000 |
| Box Office | $10,445,082 |
| Where to Watch | JustWatch · IMDB |
Summary
The Woman in the Yard, directed by Jaume Collet-Serra, is a chilling psychological horror film that delves into themes of grief, depression, and emotional decay. The story follows Ramona, a grieving mother haunted by a mysterious veiled woman who symbolizes her internal anguish, as she struggles to protect her children and her sanity. Anchored by a powerful performance from Danielle Deadwyler, the film offers a deeply emotional and unsettling take on the horrors of the mind.
Jaume Collet-Serra directs The Woman in the Yard, a hauntingly dark look into the world of grief, guilt, depression, and suicide.
Ramona (Danielle Deadwyler) lies in bed watching a video on repeat of her deceased husband David (Russell Hornsby). Her teenage son Taylor (Peyton Jackson) interrupts her solemn solitude to inform her that there’s no electricity—which, to a 21st-century teen, spells doom.
Reluctantly, Ramona drags herself out of bed and is forced to confront a harsh reality: piles of unopened letters, little to no food, and a young daughter, Annie (Estella Kahiha), craving attention. Isolated in a farmhouse, with dead phones and a car that won’t start, things only get more unsettling when Ramona encounters the woman in the yard—a black-veiled entity (Okwui Okpokwasili) who cryptically tells her, “Today is the day.” Confused and frightened, Ramona watches as this mysterious figure begins inching closer and closer to the house, while tensions inside continue to boil. What follows is a harrowing fight for the lives of her children, her sanity, and her own survival.
The Woman in the Yard delves into grief and the darkest recesses of the mind with unsettling precision. It explores depression and the yearning for an end to suffering when hope feels lost. Beneath the surface of horror lies a deeper story—this is a film about the horror that lives inside us. The veiled woman is a physical manifestation of despair, creeping ever closer, feeding on pain, and extinguishing light.
Danielle Deadwyler is brilliant as Ramona. You feel the weight of her grief radiating off the screen—her dreams gone, her guilt consuming her, her frustration overflowing. She’s blind to the fact that her children are grieving too. Peyton Jackson delivers a strong, emotionally resonant performance as Taylor, a teen forced into the role of caretaker for his younger sister while their mother slips further away.
Director Jaume Collet-Serra (Orphan, The Shallows, House of Wax) does a phenomenal job bringing the essence of depression to life on screen. And Okwui Okpokwasili, as the mysterious woman, is the very definition of eerie.
Final Verdict
The Woman in the Yard carves its own path in the horror genre. It’s an exploration of the mental darkness we often try to ignore—raw, thought-provoking, and chilling. If you love horror with emotional depth, this one is a must-watch.
review2 years agoIncantation 2022 Horror Movie on Netflix
- review2 years ago
Salem’s Lot (2024): a Review
- on disc2 years ago
Second Sight’s 4K Release of The Hitcher
- news2 years ago
Witchboard Remake Terrifies Audiences
- review1 year ago
Les Chambres Rouges (Red Rooms)
- review2 years ago
SAW X (2023) – A Worthy Sequel That Revitalizes the Franchise
- review2 years ago
A Mind-Bending Masterpiece of Stop-Motion Nightmare
- on disc2 years ago
Village of the Damned 4K: A Chilling Classic Reborn
