Films

8.7Skry

The Shining

1980

A family takes up winter residence in a shuttered mountain resort — caretaker, wife, child — and the hotel proceeds to work on them with the patience of something that has done this before. Kubrick builds the horror not through concealment but through overexposure: wide-angle lenses, symmetrical corridors, rooms that reveal themselves too readily, an environment more legible than it has any right to be. Jack Nicholson plays the deterioration at a pitch that makes it hard to locate when performance becomes something else, while Shelley Duvall is cast against that volatility with a fragility that reads as psychological fact rather than contrast. Danny Lloyd, as the child with the gift that makes him the hotel's real target, anchors the film's more formally surreal passages.

8.3Skry

Obsession

2026

A cursed-wish conceit run through the register of romantic obsession: a teenager shatters a supernatural object to make someone love him, and the film's engine turns on what that love looks like once it arrives. Curry Barker builds the horror not from the wish going wrong in obvious ways but from it going right — at least at first — so the dread comes from watching the gap between what was wanted and what was actually asked for. The genre machinery here is less about monsters than about desire as something that, once granted without limit, becomes its own kind of trap.

7.6Skry

Backrooms

2026

Vampire Carnival

2026

Other Mommy

2026

Clayface

2026

Beware Boiúna

2026

Resident Evil

2026

Onslaught

2026

Buddy

2026

It Ends

2026

Teenage Sex and Death at Camp Miasma

2026

Evil Dead Burn

2026

A widow arrives at her late husband's family home still absorbing the loss, only to find the in-laws are descendants of a demonology researcher whose work left a residue. As they transform one by one into something that feeds on fear, the film becomes a siege picture with a very particular set of rules about what marriage means when one spouse is already gone. Vaniček structures Evil Dead Burn as an inheritance drama that collapses into creature horror — the domestic and the demonic running on the same track until they can't be separated. Souheila Yacoub carries the emotional logic of the escalation, which is what the premise needs: a lead whose grief stays legible even as the film turns increasingly extreme.

Get Out

2017

A Black man visits his white girlfriend's family for the weekend — the early unease readable as social friction, the parents' calibrated warmth as liberal anxiety performing itself. Jordan Peele builds the film as a genre piece that weaponizes assimilation dread, loading its horror into the textures of politeness before the mechanisms underneath become visible. Daniel Kaluuya carries almost every scene, and his performance does the essential work: Chris's careful, watchful composure makes the gathering wrongness land as social reality first and genre threat second. The horror architecture, when it arrives, is specific enough to feel earned rather than borrowed.

Lee Cronin's The Mummy

2026