Interview with ‘Lucky’ Director Natasha Kermani
Joey Keogh Interviews ‘Lucky’ Director Natasha Kermani
Know the Cast: ‘Blood Red Sky’
‘Blood Red Sky’ Cast: A Vague Visages guide for every actor and character in Peter Thorwarth’s 2021 Netflix movie
Review: Alexandre Bustillo and Julien Maury’s ‘Kandisha’
“Bustillo and Maury are masters of the slow build, and so it goes in ‘Kandisha,’ which becomes incrementally nastier and gorier with each new victim the vengeful spirit eliminates…”
Know the Cast: ‘Messiah of Evil’
‘Messiah of Evil’ Cast: A Vague Visages guide for every main performer and character in Willard Huyck and Gloria Katz’s 1973 horror movie.
Know the Cast: ‘Sleepaway Camp’
‘Sleepaway Camp’ Cast: A Vague Visages guide for every main performer and character in Robert Hiltzik’s 1983 movie.
Soundtracks of Cinema: ‘Fear Street Part Three: 1666’
‘Fear Street Part Three: 1666’ Soundtrack: A Vague Visages guide for every featured song in Leigh Janiak’s 2021 Netflix movie.
Soundtracks of Cinema: ‘Fear Street Part One: 1994’
‘Fear Street Part One: 1994’ Soundtrack: A Vague Visages guide for every song in Leigh Janiak’s 2021 Netflix movie.
Review: Powell Robinson and Patrick Robert Young’s ‘Threshold’
“For all its islands of promise, ‘Threshold’ is really just a passable family addiction drama with horror elements that are never fully realized.”
Review: Josh Ruben’s ‘Werewolves Within’
“‘Werewolves Within’ has a puckish charm that’s difficult to resist. In spite of everything working against it, Ruben’s movie is eminently watchable thanks in large part to the brilliant cast, led confidently by Richardson.”
Review: David Charbonier and Justin Powell’s ‘The Djinn’
“The Djinn’s central performance is a demonically excellent tour de force, and the work’s inclusion of Islamic folklore is a welcome presence in the Christian-dominated sphere of demon-related American horror films.”
Review: Prano Bailey-Bond’s ‘Censor’
“‘Censor’ is an attention-grabbing debut whose true impact will likely only be felt with each subsequent viewing as the inner workings of the film’s darkest moments become clearer. Absolutely essential.”
Review: Michael Chaves’ ‘The Conjuring: The Devil Made Me Do It’
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
Prano Bailey-Bond Visits Britain’s Video Nasty Era in ‘Censor’
“Had ‘Censor’ managed both Enid’s personal nightmare and wrestled more deliberately with some of the moral questions posed by the title, more viewers might have been inclined to initiate conversations about the horror genre’s traditions of transgression.”
You Must Be THIS OLD to Ride in George A. Romero’s ‘The Amusement Park’
“Romero’s movies have a workshop feel to them, which elevates the horror to a startlingly realistic terror as if it was being documented live.”
Review: Damian Mc Carthy’s ‘Caveat’
“Deeply unsettling and profoundly frightening, ‘Caveat’ is a remarkably assured debut for Mc Carthy and a real showcase for the talents of its small cast, particularly French as the tortured protagonist.”
Review: George A. Romero’s ‘The Amusement Park’
“‘The Amusement Park’ may not be Romero’s angriest film, but it’s one of his most deliberately disturbing…”
Review: John Krasinski’s ‘A Quiet Place Part II’
“‘A Quiet Place Part II’ depicts quietness as a strength, and the film’s release shows that the quietness of the past year can be resolved through the mutable, powerful sensibilities of cinema.”
Netflix Review: Zack Snyder’s ‘Army of the Dead’
“‘Army of the Dead’ is an algorithmic cleansing exhale in the wake of a whirlwind period in Snyder’s career. As a zombie movie, it’s a shallow, scattershot effort with interesting mythology ideas that don’t really go anywhere…”
Review: Pat Mills’ ‘The Retreat’
“While having gay leads is a refreshing inclusion in a genre that has historically excised or executed them, Mills’ movie is a toothless response to the ‘bury your gays’ trope.”
Review: Simon Barrett’s ‘Seance’
“Everything about ‘Seance’ is loudly, proudly feminine and female focused… if one didn’t know this was Barrett’s work, it could easily be mistaken for that of a female filmmaker, which is no small feat.”