Mary Beth McAndrews

Mary Beth McAndrews thinks found footage is good and will fight you if you say otherwise. When she's not writing, she's searching for Mothman with her two cats. Follow her on Twitter @mbmcandrews. (She/Her)
Don't Breathe 2 Trailer Lang

The Main Character of ‘Don’t Breathe 2’ is an “Anti-Villain”

By Mary Beth McAndrews 

The trailer for the sequel has fans reacting against the portrayal of “The Blind Man” as a hero. Even if the filmmakers are calling it something different.

Halloween Kills Trailer Michael Myers

Shot by Shot with the ‘Halloween Kills’ Trailer

By Mary Beth McAndrews 

Could this mean the end for Michael Myers?

The Strangers shot horror movie

Back to the Movies: An Ode to Watching Horror on the Big Screen

By Mary Beth McAndrews 

Nothing can replace the power of seeing fear on the big screen.

Castlevania Netflix Final Season

‘Castlevania’s Final Season is a Blood-Filled Delight

By Mary Beth McAndrews 

TV series may come and go, but ‘Castlevania’ is forever.

Debate Week Best Picture Losers Babe

‘Babe’ is an Award-Worthy Tale About the Underpig

By Mary Beth McAndrews 

Nominated for Best Picture in 1996, ‘Babe’ is not just a story about a talking pig but also about compassion and believing in yourself.

Ghost In The Shell sex or utilitarian

Navigating Sexuality and Utility in ‘Ghost in the Shell’

By Mary Beth McAndrews 

Mamuro Oshii’s 1995 anime is a fascinating examination of the female cyborg and her assumed sexuality.

Cloverfield Found Footage Movie Monsters

‘Cloverfield,’ ‘Trollhunter,’ and the Birth of the Found Footage Monster Movie

By Mary Beth McAndrews 

DIY aesthetics meet big budget productions in two films from the late aughts.

Bryan Bertino The Strangers Collage

Bryan Bertino and 21st-Century Nihilism

By Mary Beth McAndrews 

Director Bryan Bertino’s filmography is a dark and hopeless dive into the unpredictability of violence and the inability to truly avoid it.

Sundance 2021: The World To Come

The Frustrating Beauty of ‘The World to Come’

By Mary Beth McAndrews 

Despite its amazing performances and stunning cinematography, Mona Fastvold’s romantic drama can’t shake off the overdone tropes about lesbian relationships.