Robin R. Means Coleman updates her essential text on Black horror cinema with a new volume and a new co-author
The Black Guy Dies First reads like little more than Horror Noire for the attention-deficit crowd.
Carvell Wallace on America’s history of exploiting Black pain for cheap scares
Nia DaCosta’s re-imagining of the 1992 film Candyman proves more effective because it does not traffic in white voyeurism in its examination of Black trauma.