SXSW 2023

[SXSW Review] MONOLITH | Nightmarish Conjurings

[SXSW Review] DEAD ENDERS | Nightmarish Conjurings

[SXSW Review] RAGING GRACE | Nightmarish Conjurings

SXSW Review: APPENDAGE | We Who Walk Here

[SXSW Review] EYESTRING | Nightmarish Conjurings

SUNDANCE 2023

Sundance Review: ‘Kim’s Video’ | Film Cred

birth/rebirth // A Feminine take on the Frankenstein story | Horror Movie Blog

[Sundance Review] SOMETIMES I THINK ABOUT DYING | Nightmarish Conjurings

[Sundance Review] IN MY MOTHER’S SKIN | Nightmarish Conjurings

[Sundance Review] RUN RABBIT RUN | Nightmarish Conjurings

FRIGHTFEST 2022

[Frightfest 2022 Review] THE EYES BELOW | Nightmarish Conjurings

TRIBECA 2022

Tribeca Review: A WOUNDED FAWN | We Who Walk Here

PANIC FEST 2022

[PANIC FEST] THE OUTWATERS Review – A Masterful Found Footage Death Dream | Slay Away

GRIMMFEST EASTER 2022

[Review] Grimmfest Easter: Ghosts of the Ozarks | Hear Us Scream

[Grimmfest Easter] THE WOMAN WITH LEOPARD SHOES Review: A Clever Microbudget Noir | Slay Away

SXSW 2022

[Review] Hypochondriac | Hear Us Scream

[SXSW 2022] Ti West’s ‘X’ Is an Unusually Affecting Thesis on the Changing Tide of American Culture | Daily Grindhouse

[SXSW 2022] ‘Jethica’ Is a Captivating Golden Hour Ghost Story | Daily Grindhouse

SXSW Shorts Reviews, Part 2 | We Who Walk Here

[SXSW 2022] ‘Slash/Back’ Is a Fun and Affecting Portrait of Heritage Through the Lens of Creature Feature | Daily Grindhouse

SXSW Shorts Reviews, Part 1 | We Who Walk Here

[SXSW 2022] ‘The Kids in the Hall: Comedy Punks’ | Daily Grindhouse

SXSW Review: THE CELLAR | We Who Walk Here

SXSW Review: DEADSTREAM | We Who Walk Here

Glasgow Film Festival 2022

Glasgow Film Festival Review: ASHGROVE | We Who Walk Here

Glasgow Film Festival Review: MONSTROUS | We Who Walk Here

Slamdance 2022

Slamdance Interview: Avalon Fast for HONEYCOMB | We Who Walk Here

Slamdance Film Festival Review: HONEYCOMB | We Who Walk Here

Sundance 2022

Sundance Interview: ‘You Won’t Be Alone’ Editor Luca Cappelli | Film Cred

Sundance Interview: Costume Designer Charlese Antoinette Jones for NANNY | We Who Walk Here

HATCHING Review – Sundance Film Fest | Slay Away

HQ Hang Out: Sundance 2022 Wrap Up | Horror Queers

Sundance Review: ‘Piggy’ | Film Cred

Sundance Film Festival Review: MASTER | We Who Walk Here

Sundance Review: ‘A Love Song’ | Film Cred

Nashville Film Festival 2021

[Nashville Film Fest] FAYE Is a Provocative, Tour-de-Force, One-Woman Show for the Post-Pandemic Age | Daily Grindhouse

Chattanooga Film Festival 2021

CFF Review: ‘My Heart Can’t Beat Unless You Tell It To’ | Film Cred

Dances with Films 2021

[Dances With Films Review] A GOOD COUPLE | Nightmarish Conjurings

Cinequest 2021

[Cinequest 2021 Review] THE YELLOW WALLPAPER | Nightmarish Conjurings

Slamdance 2021

Slamdance Interview: Director of ‘Bad Attitude’ Susan Stern | Film Cred

[Slamdance Review] THE LITTLE BROOMSTICK RIDER | Nightmarish Conjurings

Nightstream 2020

Nightstream Review: ‘Breaking Surface’ | Film Cred

Sitges Film Festival 2020

[Sitges Short Film Review] THE PAINTED | Nightmarish Conjurings

Salem Horror Fest 2020

Salem Horror Fest Review: DEATH DROP GORGEOUS | We Who Walk Here

Salem Horror Fest Review: ‘The Witches of Hollywood’ | Film Cred

Salem Horror Fest Review: ‘The Last Thanksgiving’ | Film Cred

Salem Horror Fest Review: BLACK LAKE | We Who Walk Here

Toronto International Film Festival 2020

TIFF Review: ‘Violation’ | Film Cred

TIFF 2020 Review: GET THE HELL OUT | We Who Walk Here

Fantasia 2020

[Fantasia Digital 2020 Review] DON’T TEXT BACK | Nightmarish Conjurings

[Fantasia Digital 2020 Review] SUSPENSE | Nightmarish Conjurings