What's up and what's down this week in pop culture, including a new special by Patton Oswalt, a disappointing 'Blackcoat's Daughter' and another misguided choice by the NFL in Justin Timberlake.

Check out Matt Donato's review of The Blackcoat's Daughter, a slow-burn horror story starring Emma Roberts and James Remar

Spooky goings-on at an all-girls school aims for The Shining’s genre-classic status but ends up being a dreary exercise drained of drama

A remote snowy, Northeastern Catholic boarding school, schoolgirls forgotten by their parents over spring break and a sinister presence are the promising ingredients of "The Blackcoat's Daughter," a horror thriller concocted by one of the sons of Anthony "Psycho" Perkins and scored by another. It's a triumph of tone over content, chills over frights, an…

This impressive debut from director Osgood Perkins, about schoolgirls left at a Catholic school over winter break, "feels like a throat-clearing exercise for a horror prodigy," says our critic.

Emma Roberts, Kiernan Shipka and Lucy Boynton star as young women connected to supernatural goings on at a girls' boarding school in writer-director Osgood Perkins' debut.

None of 'The Blackcoat's Daughter' makes one lick of sense and it quickly becomes clear that Oz Perkins couldn’t care less.

An atmospheric and suspenseful indie with a subtle but unmistakable retrograde feel.

Read our review of the indie chiller starring Emma Roberts and Kiernan Shipka.

In a very short window, "The Blackcoat's Daughter" writer-director Osgood Perkins has established himself as an outstanding horror filmmaker.

The best thing to be said about The Blackcoat’s Daughteris that it’s unconventional. The worst thing is that, for a horror film, it’sneither scary nor creepy. Writer/director Osgood (Oz) Perkins (the son of Psychostar Anthony Perkins), making ...

An unsettling horror tale that establishes a consistent tone of looming dread

Kiernan Shipka and Lucy Boynton play students stranded at boarding school over winter break.

It exhibits a committed understanding of the cinematic value of silence and of underpopulated compositions.

In spite of some compelling performances and a consistent mood, the film fails to ground any of these aesthetic flourishes in story or emotion.

Osgood Perkins’ debut feature, The Blackcoat’s Daughter - originally known as February at its premiere at TIFF last year - is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes. However, there’s a thin line between mystery and vagueness in storytelling, and