There is a very specific feeling Katie Dippold has been chasing her whole career. She traces it back to a haunted house on the Long Branch boardwalk in New Jersey—one she was far too young to be inside. She remembers screaming. She remembers laughing so hard she could barely breathe. She remembers those two things happening at exactly the same time.

You know the feeling. Endless fluorescent-lit corridors. Carpet that smells faintly of damp. A room that should have an exit but somehow doesn’t.

Kane Parsons' Backrooms is undeniably impressive. It satisfies that craving for nostalgic dread that got my friends and I hooked on the movie and the lore in the first place. What once only existed on our computer screens was finally recreated on the big screen. And there's no arguing it. Parsons, indeed, has displayed a commendable talent in manipulating atmosphere for a first-time feature director. Unfortunately, atmosphere can only carry a film so far before it gets dragge

If you left the cinema feeling equal parts thrilled and unsettled, you’re not alone. Curry Barker’s horror-romance became one of the breakout hits of the year, and it’s easy to see why. A hopeless romantic breaks a mysterious trinket called the One Wish Willow to win his crush’s heart, only to discover that getting exactly what you wished for can be its own kind of nightmare. What starts as a sweet, slightly awkward love story tips, scene by scene, into something much darker: