Ryan Coogler’s Sinners is being sold as a horror film, but let’s not kid ourselves — it isn’t. Horror is supposed to terrify, to drip with dread, to make you feel unsafe. Sinners never gets there. The vampires are polite, the finale swerves into a Tarantino-style shootout with the KKK, and along the way the script spends more time joking about oral sex than it does building fear. Domestically, it’s a box office hit with nearly $280 million, but overseas it fizzled. Because here’s the truth: Sinners isn’t horror. It’s a gothic-flavored drama that mistakes style and sex talk for scares.
The Future of Cinema Belongs to Horror and Anime
Hollywood keeps trying to manufacture “event” blockbusters out of every superhero and legacy sequel, and audiences have stopped buying it. Meanwhile, horror and anime—once treated as niche curiosities—are packing theaters with genuine urgency. The Conjuring: Last Rites and Demon Slayer: Infinity Castle prove it: smaller budgets, passionate fans, and cultural moments that feel worth showing up for. Horror has the staying power, anime has the spectacle, and together they might just be the real lifeline for theaters.
Do We Really Need the 61st Amityville Horror Movie? Apparently So
David F. Sandberg gave us Lights Out and Annabelle: Creation, proving he’s one of the most inventive horror directors of the last decade. So why is Hollywood sticking him with yet another Amityville Horror remake? With over sixty versions already floating around, the haunted-house brand should’ve been laid to rest years ago. Instead, Sandberg’s stuck in director jail, punished for studio failures he didn’t cause, while Hollywood keeps chasing IP instead of originality.
The Conjuring Shows Hollywood’s Hypocrisy in Real Time
The Conjuring universe has raked in billions by selling itself as “based on a true story.” But when a 2017 report exposed disturbing allegations about Ed and Lorraine Warren—the very couple the franchise is built on—Hollywood shrugged and kept the money machine rolling. Twelve years, eight films, and one ugly truth buried under box office receipts.
New Jason, Same Machete, Now With 100% More Corporate Synergy
Jason Voorhees is back—but not in the way fans hoped. The Jason Un1v3se feels more like a merch machine than a horror revival, and the mask can't hide the cash grab underneath.
AI Is the New Monster—and Horror Should Invite It In
Horror has always embraced the unknown—so why are some horror filmmakers gatekeeping AI? This post explores how artificial intelligence might be the genre’s next great evolution.
From Barbarian to Weapons: Is Zach Cregger Building Horror’s New MCU?
Seventeen kids leave their homes at exactly 2:17 a.m., walking calmly into the woods with their arms outstretched like they're sleepwalking toward some invisible ritual. There’s no dialogue. No gore. Just grainy Ring footage of empty suburban porches and the unnerving quiet of kids disappearing into the dark. That’s not the plot of Weapons, Zach … Continue reading From Barbarian to Weapons: Is Zach Cregger Building Horror’s New MCU?
$42.99 for 28 Days Later? What Are We Paying For?
It feels like a joke setup. A movie shot on early 2000s MiniDV, using a Canon XL1 you could find at a garage sale, is being remastered and released in glorious 4K Ultra HD. But it’s real. Sony Pictures has announced a 4K steelbook release of 28 Days Later for June 16, 2025, and this … Continue reading $42.99 for 28 Days Later? What Are We Paying For?
Hollywood After Dark 