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Elordi is the film’s biggest surprise. His Creature is shaped by restraint rather than aggression.
What the show does best is explore the town itself. The series digs into the racism, cruelty, and willful blindness that have always defined Derry beneath the surface.
The seven-episode series revolves around a fearsome old bungalow that everyone in the locality avoids.
Alisha Weir, who played Matilda in the musical adaptation, gives a wickedly confident performance. She’s both unsettling and weirdly charming, one moment teary-eyed and innocent, the next grinning with blood-stained teeth.
The tension is relentless but subtle. There are moments where you almost forget to breathe, not because of loud bangs or jump scares, but because the film is patient with its fear.
What makes it work is how internal the horror feels. It doesn’t chase you down. It waits for you to sit with it. It uses shadow and space the way other films use soundtracks and gore.
What makes ‘Orphan’ endure is that it does not offer easy answers. Evil is human here. There are no supernatural crutches, no dramatic backstory to explain it.
‘The Woman in Black’ (2012), directed by James Watkins and adapted from Susan Hill’s gothic novel, is one of those films that creeps under your skin and refuses to leave.
Set in 1986, ‘Last Rites’ follows the couple as they step out of semi-retirement to investigate the infamous Smurl haunting in Pennsylvania.
Ten films, a demon nun, a possessed doll, and plenty of sleepless nights later, we’re at the doorstep of ‘The Conjuring: Last Rites’, hitting theatres on September 5.
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