Fantasia 2020 Review: John Hyams’ ‘Alone’
“Even seen without the lens of current events, ‘Alone’ is a harrowing experience that earns its power by being uncomfortably credible.”
Fantasia 2020 Review: Sabrina Mertens’ ‘Time of Moulting’
“It may seem strange to qualify Mertens’ audaciously original production as ‘horror’ when it has no gory set pieces, jump scares, monsters or special effects. Yet, despite a lack of these things, ‘Time of Moulting’ is very much a horror film.”
Fantasia 2020 Review: Natasha Kermani’s ‘Lucky’
“‘Lucky’ is a rallying cry for women everywhere to fight back, to keep speaking up and to go it alone when all else fails.”
Fantasia 2020 Review: Brea Grant’s ’12 Hour Shift’
“As the debate rages on about whether strong female characters in movies should evoke admiration through heroism or just be flawed, human and sometimes downright unlikeable, it’s nice to see that Brea Grant created a film that’s full of different women.”
Review: Egor Abramenko’s ‘Sputnik’
“‘Sputnik’ is a thoughtful, knotty sci-fi thriller that’s firmly character-driven and also boasts a horrifyingly beautiful creature.”
Sion Sono’s ‘Tokyo Vampire Hotel’ Is Trauma Porn, and Maybe That’s OK
“The most remarkable feature of ‘Tokyo Vampire Hotel’ is its timeliness. Though the series was released in 2017, it takes place in 2021, and something about it feels distinctly ‘2020s,’ distinctly of the cinema to come, if not distinctly of 2020 and the present moment.”
Review: Dave Franco’s ‘The Rental’
“The ideas present are intriguing, however The Rental’s ultimate staying power is questionable.”
Review: Joko Anwar’s ‘Impetigore’
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
Review: Natalie Erika James’ ‘Relic’
“A haunting study of Grecian prophecies and inherited mental illness, ‘Relic’ makes beasts of the mind.”
Review: Natalie Erika James’ ‘Relic’
“James’ arresting, emotional and attention-grabbing film understands that what’s most frightening is barely glimpsed and feels disarmingly normal.”
Understanding Nobuhiko Ōbayashi: From ‘House’ to ‘Hanagatami’
“No director has been able to replicate Nobuhiko Ōbayashi’s iridescent, hallucinatory and infectious passion for film.”
Review: Jeffrey A. Brown’s ‘The Beach House’
“‘The Beach House’ signals an exciting new star in horror.”
Mythic Conduits for Intimate Pain in Edgar G. Ulmer’s ‘The Black Cat’
“While ‘The Black Cat’ does not share many explicit connections with Poe’s 1843 story, both texts use archetypal symbolism to explore painfully intimate experiences (in Poe’s case, addiction and mental disarray, and in Ulmer’s case, psychological trauma).”
Interview: Jeremy Gardner, Christian Stella and Justin Benson on ‘After Midnight’
Leslie Hatton Interviews ‘After Midnight’ Filmmakers Jeremy Gardner, Christian Stella and Justin Benson
The Disaster Area: From ‘Airport’ to ‘Airplane!’ – Part Three
Part Three of a Four-Part Disaster Movie Series by Bill Bria
‘The Psychic,’ ‘The Black Cat’ and the Concept of the ‘Final Girl’
“Even though ‘The Psychic’ and ‘The Black Cat’ don’t exist as prominently in the cultural consciousness as ‘The Texas Chainsaw Massacre’ and ‘Halloween,’ there is a sense that the Final Girls do exist in the wider world of horror…”
Alike in Their Way: (Un)happy Families in ‘Teorema’ and ‘Visitor Q’
“While ‘Teorema’ and ‘Visitor Q’ share a common DNA, what’s most striking is the way each film uses The Stranger. Both figures bring with them a kind of new order, as if they were missing puzzle pieces for the families that they integrate themselves into.”
Review: Brandon Christensen’s ‘Z’
“As a genre exercise, ‘Z’ shows promise for what Christensen might do with a higher budget.”
Review: Lorcan Finnegan’s ‘Vivarium’
“Taken purely at its basest form, ‘Vivarium’ is a terrifying isolation horror movie that goes for the jugular.”
Review: Jeff Barnaby’s ‘Blood Quantum’
“Politically motivated but never preachy, ‘Blood Quantum’ is a zombie movie for the ages that honors the grandest traditions of the genre while remaining true to its own unique essence.”