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Author: Orrin Grey

I Played It, Like, Twice...
A promo picture of all the components of Warhammer 40 K Fireteam with a big urban map and many miniature marines and warriors as well as dice and cards scattered about

In the Grim Darkness of the Far Future There is Occasionally Very Small War: Fireteam and Warhammer Underworlds

By Orrin Grey • December 17th, 2024

Fireteam brings many of the elements that make Underworlds tick to the grimdark 40k universe, to varying effect.

A screenshot from the trailer for Alien Romulus, featuring a dimly lit space hallway and three human shadows staring pensively into a dark entryway

I Can’t Lie to You About Your Chances, but You Have My Sympathies: Alien: Romulus (2024) and the Plague of Legacy Sequels

By Orrin Grey • December 12th, 2024

Those who are familiar with my film opinions will know that I don’t have a high regard for legacy sequels – to put it mildly.

A screenshot from the trailer for Red Rooms featuring an all white courtroom with multiple screens showing the faces of three female victims, as well as a judge, lawyers, and a jury

I Want to Ask Your Forgiveness for What I Will Inflict on You: Red Rooms (2023) and the Abjection of Obsession

By Orrin Grey • November 26th, 2024

How much difference is there, after all, between watching a murder take place, and reconstructing that same murder through your favorite true crime series, book, or podcast?

I Played It, Like, Twice...
A photo of a game of Warhammer Underworlds in action with a hex map, cards on a table, several six-sided dice, and many miniatures of various warriors, with bows, swords, and other weapons

Mad About Underworlds: In This Case, I Mean Mad as in Angry

By Orrin Grey • November 12th, 2024

The Warhammer: Underworlds warbands have a level of personality that larger armies simply can’t, with each individual model given a name, special rules, and some character that help it to pop.

A screenshot from the trailer for Maxxxine with the title of the movie front and center in a commanding sans-serif typeface

Maybe They Should Save Themselves: Maxxxine (2024) as Middle Finger

By Orrin Grey • November 6th, 2024

I think that Maxxxine really believes that it has something to say in all those theme-heavy monologues

A screenshot from the Trailer of Oddity featuring the title of the movie in dark shades of green

Personal Items Work Best: Oddity (2024)

By Orrin Grey • October 31st, 2024

Oddity is an extremely slow burn, though it keeps elements of eeriness and dread close at hand.

Feature Story
In a detail from the movie poster art for the film The Stuff, a man screams as light green goop flows freely from his eyes and mouth.

Nothing But Respect for My President Whipped Crème

By Orrin Grey • October 25th, 2024

Does each peak hold beautifully from kitchen to plate, as the can promises? Is it sure to impress? Will it make my family love me?

I Played It, Like, Twice...
A crop of the cover for the game Bump in the Night where a terrified child cowers under the blankets while skeletal death hovers above them

Midnight in the Garden of Goo: Going Haunting with Bump in the Night

By Orrin Grey • October 22nd, 2024

There’s an odd sense that, somehow, what we’re pulling from are more weirdo Italian movies like Ghosthouse than more standard haunted house fare.

I Played It, Like, Twice
A picture of The Ghosts Betwixt on the table with a colorful map of a house full of tiles with baseball bat swinger, slingshot dead eye, golf homie, and baddies with kitchen weapons and stained clothes

Everyone’s Heard the Stories: Dungeon Crawling in the Haunted Heartland with The Ghosts Betwixt

By Orrin Grey • October 8th, 2024

The Ghosts Betwixt takes a cue from Stranger Things to tell a story set in the “1990s haunted heartland”

A screenshot from The Substance with Demi Moore staring into a mirror with bold red lipstick and a red dress, gold earrings, and an intense look on her face

You Can’t Escape from Yourself: The Substance (2024)

By Orrin Grey • October 3rd, 2024

One of my pet peeves in modern horror films is when the central premise works only as metaphor, not as actual text.

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