Evan Enderle definitely has an affinity for setting up tension and drama.

The Third Day in October is very much a what you see is what you get situation, which is the vibe it should go for.

Dan gets arrested for being drunk in the streets and that means community service wherever he can get it, the easier the better.

This movie answers a very important question: how come the ghost in my house doesn’t give me any message, any inkling of how I can escape this mortal level of reality?

Shorts are important at any film fest.

The film appeals to very raw and carnal emotions, asking viewers to indulge in the thoughts and feelings that we aren’t supposed to think and feel.

The Leech is an impressively gratifying follow-up to Sadistic Intentions for writer/director Pennycoff, who cleverly pairs Gardner and Zaudtke with Skipper to tell a riotous holiday story.

Director Joe Badon has crafted a work that is impossible to describe in words.

The Third Saturday in October Part V ably does what it sets out to. It will be nostalgic to genre fans who relied on video stores while younger audiences will enjoy the comedy.

What a day to watch this film. I want to be up front that this is less a review and more a document of my own experience watching the movie, which I guess in some ways is as honest as I can be.

Filmmaker Aristotelis Maragkos laboriously re-edits the miniseries using paper collage techniques and animation. The result is The Timekeepers of Eternity, a condensed, experimental, and ingenious reworking of the source material.

Any film that knows how to feather its clues in and keep me guessing as I try to crack its code is a worthwhile experience for me.

Directed by Bill Posley and featuring an all-black cast, retro board game inspired kills and creative editing Bitch Ass looks to join those aforementioned classics as a staple of the genre.

It is subtle at first; then the machinations of The Ones You Didn’t Burn take over.

Welcome to The Terror Television, our official Fango week in review!

This is a film full of genuine madness, featuring some of the most striking horror imagery I’ve seen in a long while.

Never has there ever been a holiday film quite like Eric Pennycoff’s The Leech, which pits the holy against the hellish for a thematically strong, rapid-fire descent into festive madness.

Truly embodying every aspect of the modern-day Christmas spirit, The Leech follows a devout priest during the Christmas season as he attempts to assist a struggling couple through a rough period in their lives.

Whether by design or technical incompetence, and what emerges is what Walinga calls an “incidental” portrait of a world that is ever more aware of itself, watching itself always.

The Leech may feel familiar at first, beginning as an odd-couple comedy of sorts, but it goes places you definitely won’t see coming. And it’s an enjoyably gonzo romp, all along the way.