Like a traumatized psyche, it remains uncomfortably stuck in the past, replaying familiar events in an effort to empty them of terror.
The Haunting of Hill House is a kind of riff on madness in its many forms, a sojourn of loss and regret.
The images have a pleasing straightforwardness that parallels the openness of Cody’s longing for love.
Mike Flanagan’s Gerald’s Game is the rare Stephen King adaptation to be undone by the story itself.
Ouija: Origin of Evil complements its goose-pimply frights with an unabashedly naked emotional gravitas.
Through a mini-triumph of montage, what begins as run-of-the-mill backstory vomit is thrillingly repackaged as an almost-Lynchian duet between warring states of consciousness.