In this post, you’ll find summaries of the episodes of The Witch and the Beast: Season 1 and what we thought were the highlights, low points, on-the-fence topics, and notable parts of the season.
“Night Swim” may scratch that itch for horror fans who need a jump scare, but it certainly won’t start off the year on a high note for Blumhouse like “M3GAN” did.
As Higurashi executes his plan for chaos, Akemi is just starting to break new ground with his father.
“Lord of Misrule” excels at setting the tone for a frightening time, but after a while, the shadows and masks can be tiresome.
“The Sacrifice Game” starts promising but by the end, the real crime is sacrificing time to watch this movie.
In this Santa Claus horror film, you get blood, literal guts, and the type of scenes that aren’t noteworthy until they get particularly gruesome.
In a rather simple horror-esque movie, a young man finds himself hesitant to befriend a new girl, and it seems he should have followed his instincts.
In this disaster movie, instead of action stars, we get leads known for their dramatic abilities who are tasked with surviving apocalyptic situations with none of them playing the role of the world’s savior.
If you wanted violence, gore, and a villain whose madness is almost justifiable, “Thanksgiving” makes up for the rather tame offerings we got in October.
“It’s A Wonderful Knife” is a bit corny, undeniably bloody, but has a silver lining to it because of its supporting actors.
Mike Flanagan’s “The Fall of the House of Usher” is an entertaining and ghoulish time, but fans of Edgar Allan Poe’s classics may roll their eyes.
A cast and character guide to Mike Flanagan’s “The Fall of the House of Usher,” now streaming on Netflix.
“The Elderly” takes forever to get to the point, which may or may not be a play on who and what it focuses on.
As usual, a person with a mental illness ends up killing people, with the only difference in “Wake” being that person is a rapper.
“Vindicta” is a Latin term that refers to “just revenge,” yet after watching “Vindicta,” viewers might want to enact their own justified revenge on the filmmakers.
“Totally Killer,” as its title implies, is a fun horror movie to watch but ultimately is more content to consume than a new movie to put into your annual Halloween rotation.
Kjersti Helen Rasmussen’s “Nightmare” creates a creepy atmosphere, but has a more sleepy than scary execution.
“SaW X” brings back John and Amanda and tries to milk them both for every last bit of nostalgia possible while failing to realize the franchise has rightfully moved on from them.
“It Lives Inside” deserves praise for how it handles being a first-generation Indian in a White community but might be considered lackluster as a horror movie.
“Elevator Game” may have some missteps, and may not justify its villain’s motive well, but it does have likable characters who you are interested in enough to wonder if they will survive.
In “A Haunting In Venice,” Hercule Poirot returns and makes it clear that, while the third movie starring the character, there is the potential for a James Bond-level number of movies starring lead and director Kenneth Branagh.
With a “Sex Education” and “Stranger Things” alumni, and the Russo Brothers as executive producers, this had to be good… right?
“The Nun II” reminds you that it isn’t just Disney and the Marvel Cinematic Universe that milks its franchises past its prime – the horror genre has been doing that since its inception.
“Slotherhouse,” like most horror comedies, are enjoyable as long as you can embrace how ridiculous it is for if you look past the superficial, there isn’t much there.
“#ChadGetsTheAxe” harnesses the idea of an influencer in a horror movie in ways that have yet to be done at this level – and it is probably one of the best digital releases of the year.
“Birth/Rebirth” in using death as the villain, and humanity as morally grey, gives you an engaging horror film that isn’t dependent on blood, guts, and violence to keep you watching.
“Zom 100: Bucket List of the Dead” is a joyous and bonkers live-action adaptation of the manga. The movie celebrates friendship, dreams, and plenty of zombies.
While a unnecessary reboot, there is no denying this adaptation aims to bring something different.
Jim Cavaziel auditions to be Liam Neeson’s successor as he takes on becoming the savior for children kidnapped and put into the sex trafficking industry.
This is a character guide for Crunchyroll’s “Undead Murder Farce,” with character descriptions, quotes, names of actors, and more.
This is a character guide for Netflix’s “Zom 100: Bucket List of the Dead,” with character descriptions, quotes, names of actors, and more.
In honor of “Final Destination 6,” here are six potential fears the new movie can build death traps around.
“Cobweb” has a wonderful mystery and build that it squanders thanks to its ending.
“The Flood” isn’t as bad as one might think, but because of a dull story, it’s more boring than it should be.
“Birdbox Barcelona” navigates a hauntingly captivating journey of survival, illusion, and redemption, where love, faith, and human resilience are tested against a backdrop of dystopian horror and suspense.
While “Talk To Me” comes with graphic imagery and the occasional comical moment, the characters have hastened development which doesn’t really push you to care about who lives or dies, but rather how.
“The Horror of Dolores Roach” boasts a great cast ready to bite into the show’s bloody premise, but its tone shifts into systemic problems and landing a second season ruin a potentially good single season.
“Insidious: The Red Door” is a reminder of why it has been so refreshing for new horror movies to not only come out but also get a marketing budget so that you know they exist.
While many horror films have drama elements, “Run Rabbit Run” flips things and is a drama with horror elements that doesn’t necessarily do much beyond give us a creepy child.
The overall goal of Wherever I Look is to fill in that space between the average fan and critic and advise you on what’s worth experiencing.
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