Though tough to narrow down to just 10, here are my 2024 top 10 fave horror films.

ALIEN ON STAGE is a heartwarming and charming look at community theatre, creativity on a budget, and just how magical movies can be.

THE SOUL EATER delivers a compelling and atmospheric procedural that ventures into some dark and murky subject matter shadows.

Despite a solid premise and some intriguing ideas, THIS MAN proves to be its own worst enemy.

CUCKOO gleefully basks in its eccentricity with no ulterior motive.

Brutal in many senses, THE BEAST WITHIN tells an important story in a palpably authentic, if not sometimes frustrating, way.

THE DEAD THING is a satisfyingly dark and dreamy contemporary contemplation of technology and our connection to it.

Kryptic is a hauntingly surreal visual encounter that offers a nuanced look at what it means to be monstrous. 

With the full lineup of films now officially announced, here are five that I am particularly excited to see at Fantasia 2024.

When the two powerhouses of Herzog and Popol Vuh combined, the result was pure magic.

FREAKY FOLKLORE compiles over 50 creepy creatures from around the globe into one beautifully illustrated compendium.

Composer Joseph Shirley discusses his score for THE BOOK OF BOBA FETT, working with Ludwig Göransson and embarking on new adventures.

Gavin Brivik discusses his path into composing for film, his experience working on CAM, and his fave horror films.

Ariel Powers-Schaub stops by to talk all about her new book, MILLENNIAL NASTIES: ANALYZING A DECADE OF BRUTAL HORROR FILM VIOLENCE.

One stoner who defied traditional horror tropes and beautifully created his own strain of stoner: Marty Mikalski in THE CABIN IN THE WOODS.

Mansell’s iconic collab with the Kronos Quartet is one of the most emotionally haunting and tragically beautiful scores of the modern era.

In this interview with Erik Porn, we talk all about his work on THE WRETCHED, creating its unique creature, and The Pierce Brothers.

GREMLINS 2 is completely bonkers, absolutely absurd and all the more brilliant because of it.

Zuckerman chats all about LUCKY, scoring for SCREAM and that one time he worked with David Lee Roth.

The score for THE SHINING remains a prime example of the sheer power behind a well-executed vision.