NightTide Magazine

NightTide Magazine

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Film Reviews

  • DIE AT MUFFY’S: A LOOK AT APRIL FOOL’S DAY 39 YEARS LATER
    03/31/2025

    DIE AT MUFFY’S: A LOOK AT APRIL FOOL’S DAY 39 YEARS LATER

    Mo Moshaty
  • WAY-BACK WEEKEND WATCH: THE BEGUILED (1971)
    03/28/2025

    WAY-BACK WEEKEND WATCH: THE BEGUILED (1971)

    Ray Walton
  • SOMEONE TO WATCH OVER ME: THE WOMAN IN THE YARD (Review)
    03/28/2025

    SOMEONE TO WATCH OVER ME: THE WOMAN IN THE YARD (Review)

    Mo Moshaty
  • WAY-BACK WEEKEND WATCH: TWICE-TOLD TALES (1963)
    03/19/2025

    WAY-BACK WEEKEND WATCH: TWICE-TOLD TALES (1963)

    Ray Walton
  • STUPID GAMES (2024) (Review)
    02/26/2025

    STUPID GAMES (2024) (Review)

    SarahMac
  • “BEAUTY IS TRUTH”: THE QUEST FOR FEMININITY IN ‘BODY ODYSSEY’
    02/19/2025

    “BEAUTY IS TRUTH”: THE QUEST FOR FEMININITY IN ‘BODY ODYSSEY’

    paytonalexamccartysimas
  • GET SNARED: THE MONKEY (REVIEW)
    02/19/2025

    GET SNARED: THE MONKEY (REVIEW)

    Mo Moshaty
  • SLASH RIGHT: HEART EYES (2025) REVIEW
    02/14/2025

    SLASH RIGHT: HEART EYES (2025) REVIEW

    Mo Moshaty
  • COMPANION (2025) – REVIEW
    01/29/2025

    COMPANION (2025) – REVIEW

    Andrew Pope
  • IT’S WHAT’S INSIDE: WOLF MAN (Review)
    01/17/2025

    IT’S WHAT’S INSIDE: WOLF MAN (Review)

    Mo Moshaty
  • THE SWARM (La Nuée) (Review)
    01/14/2025

    THE SWARM (La Nuée) (Review)

    SarahMac
  • A CHAOTIC REIMAGINING: STREET TRASH (2024) (Review)
    12/30/2024

    A CHAOTIC REIMAGINING: STREET TRASH (2024) (Review)

    Mo Moshaty
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NightTide Magazine is dedicated to elevating voices in the horror genre, as well as to expanding the definitions of what horror means in our world today. While we highlight horror in all its forms, we always strive to advocate for and to shine a light on historically marginalized creatives working within the genre, in as many incarnations as possible. We celebrate Creators of Color, the LGBTQIA+, Disabled and Neurodivergent communities in horror, and those breaking the barriers of ageism in the genre, giving them a platform to emerge from the shadows, visible and seen.

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