The event that takes place in “The Devil’s Doorway,” a horror film from the Irish director Aislinn Clarke, may or may not be a miracle—but it exposes a truth about who we are, we who crucified Christ.

“Us” treads some of the most trampled ground in contemporary horror: 1980s nostalgia; guilt and rage over inequality.

Where can someone who sincerely wants to repent and atone find guidance or models for apologizing well?

"The Song of Bernadette" follows a classic horror-film structure in order to make a theological point that could not be more urgent.

“The Happy Prince” covers only the last few years of Oscar Wilde’s life. When it touches on religion, it is intensely interesting.

"The Wolf House" is a Chilean political horror film that explores the traumas of childhood abuse.

“People who have never heard of Weegee can describe him,” Bonanos writes, because he created Hollywood’s idea of the newspaper photographer.”

This is the movie’s true monster—the possibility that self-surrender in the monastery and possession by a demon are basically the same thing.

In “Sorry to Bother You,” the system’s greatest threat—literal ownership of your time and person—is also its promise of relief.

“Hereditary” is a tense and deeply sad horror film that asks incisive questions—and then makes the mistake of giving answers.