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Brightburn (2019) [a film review by Frank Ochieng]

It would have been very interesting sitting inside a Hollywood movie studio board meeting when a pitch was made for

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The Prodigy [2019] (a film review by Frank Ochieng).

So it appears that ‘The Prodigy’ is the latest evil kid creepfest to re-emerge and offer its familiar spin on the

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Horror Noire: A History of Black Horror [2019] (a film review by Frank Ochieng)

One of the familiar clichés that have always been identified in mainstream horror cinema is that ‘the black guy or

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‘Oh The Horror: Diversity Can Be Such A Macabre Masterpiece’ (movie article by Frank Ochieng).

Indeed, the saturation of the contemporary horror genre and all its conventional sub-divisions of conception have seen its better days.

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Blair Witch (film review by Frank Ochieng).

When ‘The Blair Witch Project’ burst upon the cinematic scene in 1999, it was an unspeakable breath of fresh air because it

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The Disappointments Room (film review by Frank Ochieng).

So here we go again…another derivative suburban haunted house horror showcase featuring a harried heroine’s beleaguered state of mind from

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When The Bough Breaks (film review by Frank Ochieng).

The woefully generic ‘When The Bough Breaks’ has the gloss factor going for it to a certain extent. Truthfully, its presentable package

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Don’t Breathe (film review by Frank Ochieng)

  There are several contemporary horror showcases that could certainly benefit from co-writer/director Fede Alvarez’s (‘Evil Dead’) edgy home invasion

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Lights Out (film review by Frank Ochieng).

Although a simplistic and familiar theme is explored involving sinister forces tormenting a child in distress, Swedish director David F.

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The Forest (film review by Frank Ochieng)

The backbone of ‘The Forest’s conception is probably more fascinating than the horror film in which the narrative is based

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