THE ANGRY BLACK GIRL AND HER MONSTER
Desensitized to death by gang violence in her neighborhood and her family, Vicaria chooses science as her savior. “If death is a disease. Then there’s a cure.” In this modern take on Frankenstein, writer-director Bomani J Story brings BUFF 2023 audiences a bold reclamation of power.
Laya DeLeon Hayes is magnificent as Vicaria. Love and success are her motivators. She battles microaggression and blatant racism from every direction. Hayes owns every frame.
The practical fx and special effects makeup are as visceral as they should be. Hayes fearlessly handles the material with glee. The writing is unflinching. It’s a gutsy, hell yes script, socially and psychologically, tackling police violence on black bodies, socioeconomic pain, and family. The Angry Black Girl and Her Monster is a brutal but brilliant watch.
RLJE will release the film in theaters this summer.
Shudder and ALLBLK will follow with streaming debuts later in 2023.
Ezra Buzzington is the hard-line skeptic as Paul. Clad in his Magor’s uniform bespangled with medals, his bristly approach to patriotism is all too familiar even now. His audibly growing disdain makes the audience squirm. Jeremy Holm is Archie. He has the perfect touch of panache from his slicked-back hair, mustache, and crimson jacket. His looming figure, combined with his humor, creates a dazzling performance.
Pure O
Raging Grace (United Kingdom)
Another Body
The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror. ATTACHMENT had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed creating a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized.
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Locke’s script sets a solid pace, with details of her daughter’s disappearance slowly revealing themselves, unrequited love, past regressions, and secrets boiling over. Darlene’s ex-brother-in-law lands on her doorstep under the guise of a surprise family reunion, but his ulterior motive involves a revelation in Sally’s case. The information he’s been sitting on as Darlene relentlessly searched for Sally, became an advocate for other families, and got her alcoholism under control. The rage and fear evolve into a knockdown, drag-out fight between redemption and revenge. 
Compounded by the raging snow outside, any turmoil coming from the house is more than muffled. This simple device proves to be a wonderful segway for Gretchen to reenter the story. 
Here is where I felt like
THE APOLOGY
The gruesome kills are juxtaposed with a sick soundtrack (and one brilliant oral sex scene), top that off with a particularly shocking choice of violence. When Tori witnesses the act, our killer Santa goes ham on the house. The words, “Oh! That’s fucking nuts,” poured out of my mouth as he breached the threshold. I would be surprised if you didn’t end up saying the same.
Riley Dandy and Sam Delich give spectacular performances. Given writer-director Joe Begos‘ meaty fandom-laced dialogue, they look like they loved every minute. The discussion about horror sequel superiority had me cheering out loud. 
Steve Moore‘s original music is bitchin’. The practical fx are a gift. The pyrotechnic work keeps things merry and bright. The special makeup and Animatronic robot effects from Josh and Sienna Russell are a Christmas miracle. Will everyone compare it to Silent Night Deadly Night meets Terminator? Probably but who cares. CHRISTMAS BLOODY CHRISTMAS is a holiday horror treat. So, spike your eggnog, get as lit as your tree, and rock the hell out of this film.
Victoria Moroles is Jane. Her precociousness is spot a delight. Segan gives her dialogue deliciously reminiscent of Dawson’s Creek, i.e., she is far too eloquent for fifteen. Her chemistry with Segan is comfortable and endlessly amusing. Her takedown of the film’s misogynist energy is chef’s kiss.
Writer-director-star Noah Segan plays Francis as a Yiddish-spewing loaner. His penchant for a happy-go-lucky attitude is more function over form. We learn about his deep-seated loneliness and unresolved trauma, which creates an equally funny and tragic persona. Segan gives a star-making performance.
BLOOD RELATIVES is an undeniably fun vampire coming-of-age family film. Heartwarming, silly, and intimate, it is easy to see why it garnered so much attention in the festival circuit. Shudder is the perfect platform for Segan’s madcap creation. I formally request a sequel when Jane gets to college. I have to know where this family unit ends up. Don’t forget to bring Fieldner along.
Check out the newest trailer for the film and our 
What would you do to survive all alone in the woods? Do you have enough common knowledge to rescue yourself? A visceral watch, Distress Signals takes Popcorn Frights 2022 audiences on an undoubtedly intriguing journey. The title alone plays double duty in this surprisingly nuanced film focused on survival. Distress Signals is a complete genre shift from Terence Krey and Christine Nyland‘s previous film festival hit, now streaming in Shudder, 
Daniel Fox‘s cinematography (particularly the nighttime scenes) combined with a triumphant score by Shaun Hettinger is something to behold. Filmmakers used the elements to their storytelling advantage. The light, the terrain, the flora, and the weather become characters in the plot. Don’t get too comfortable. The final act will flip the script into one intensely harrowing narrative.
Grace Kaufman is Abbie. As a college student, she possesses a casual abandon to her behavior. Her age-appropriate nonchalance is perfectly balanced with Hall’s ever-evolving intensity. Tim Roth is a master manipulator as David. He’s downright frightening. His backstory as a groomer is beyond upsetting. Roth gives off a slimy aura that makes the viewer’s full body cringe. Rebecca Hall
The heightened sound editing chills the senses. It’s a palpable stress-inducing choice that accosts the audience. You’ll have to remember to breathe while watching Resurrection. Andrew Semans‘ writing astounds me. He understands the fear and gaslighting so many women live with daily, then takes it to the nth degree. It’s also about telling your story. Resurrection is relentlessly terrifying and grossly relevant. Believe women.
Kota Eberhardt, as Desi, holds her own against Krige. Her presence is equally as fierce as her costar. Something about her performance demands your attention. Eberhardt could easily carry a film on her own. Alice Krige is the epitome of genius as Veronica Ghent. The nuance she radiates is breathtaking.
The film possesses a mesmerizing score from Clint Mansell. Something Argento would approve. Jaime Ramsay‘s camera work is dizzying and invasive. The juxtaposition of striking visuals and memory fragments represents unresolved trauma, new and ancient. She Will feels like a victory cry for the #MeToo movement. Slick editing heightens the film’s themes of nature, instinct, suppression of power, and interconnected female experience. Charlotte Colbert‘s debut with co-writer Kitty Percy is a rage-shedding catharsis. She Will is the witchy stuff of dreams.
Director 
Comic relief comes in the form of 
Shudder original 
Writer-director 
As Kiera investigates the house’s history, we are introduced to everything from Jewish mysticism to quantum physics. I wasn’t expecting math to be a thing, yet here we are. I thought the record player that coaxed the family members into all sorts of trouble was clever. But, not so much the characters googling Latin quotations. It’s a lot. There are fleeting moments of greatness, such as an ancient abacus moving on its own, air blowing from underneath the cellar door as if a creature were heavily breathing. The classic scares worked best for me. The final 20 minutes is where the real action occurs, a clear nod to 
Melora Walters as Ava is powerful in her manic behavior. She’s such a presence in any role. This casting was perfect. Richard Brake is brilliant. He’s so nonchalantly terrifying you’re just mesmerized by his performance. Jeremy Gardner is one of the best parts of this film. He’s a savior figure cloaked in mystery. His delivery of dialogue drives the greater mystery forward. He is an integral piece to this gothic puzzle. Jocelin Donahue has anxiety written all over her face. She has this throwback horror look from the hair, to the wardrobe, giving the entire film a timeless feel.
Mac Fisken‘s cinematography is amazing. The long lingering shots, the close-ups, and the static camera work are stunning. Watching the actors run into view and away again is such an effective stylistic choice. Writer-director Mickey Keating‘s creation lives and breathes in the audience’s ability to take the ride. I actually went back and watched the beginning again and there is one very Ari Aster moment. Keating smartly gives you a visual reference but it’s tricky to decipher right off the bat. OffSeason is worth multiple viewings. Make sure to have your volume turned up when you do.
In 
*Originally posted during Fantasia 2021*
Zelda Adams as Izzy is so intriguing in her innocence and curiosity. Her journey from child to adult occurs before our eyes, whether we like it or not. Toby Poser, as Mom, is a force of nature. Often telling an entirely emotional story without words. Their chemistry is never forced. This is not always the case when a family works together. In the case of the Adams family, it’s their biggest strength. Their work is dark and that takes trust and guts. And allow me to assure you both are teeming in Hellbender, quite literally. There is one special effect in particular that blew me away. When you see it, you’ll know what I’m talking about.
It’s a mother-daughter relationship film that just so happens to center around a witchy heritage. Predictably, deceit under the guise of protection is bound to backfire. Hellbender is about a secret and sacred family history. But, it’s also about the power of the feminine and a slick takedown of any sort of patriarchal structure. The social commentary between the treatment of witches and any female, ever, is glaringly obvious, but no less genius. Hellbender is undoubtedly one of the most kick-ass films from this year’s festival. It’s no wonder it won Best Score and Best Actress (Zelda) in the CHEVAL NOIR AWARD FOR FEATURE FILMS. I cannot wait for Shudder audiences to join in their fandom.
In my humble opinion, horror must be enthralling to justify 2-hour runtime. Shudder’s latest original film, 
Michelle Krusiec
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