Men and Monsters in ‘The Clovehitch Killer’
“‘The Clovehitch Killer’ offers much for the audience to ponder: what it means to be a man and a human, what it means to keep secrets and what it means to face monsters and survive.”
‘Les diaboliques’ and the Beginnings of the Erotic Thriller
“One of the most compelling things about ‘Les Diaboliques’ and its cinematic offspring is that viewers are always left with the sense that there are secrets untold, questions unanswered.”
Interview With Director Don Coscarelli, Author of ‘True Indie: Life and Death in Filmmaking’
Zach Vasquez Interviews Filmmaker Don Coscarelli
Survivor’s Guilt: The Continuity of ‘Halloween H20: 20 Years Later’
“Regardless of how one chooses to view it, H20’s legacy will always have Laurie/Keri’s character and Curtis’ performance in its favor.”
Lights, Dance, Death: Body Movements and Color in Dario Argento’s ‘Suspiria’
“Dario Argento’s ‘Suspiria’ contorts the abjection of horror through a kaleidoscope of popping color.”
Pod Nation: The Endurance of ‘Invasion of the Body Snatchers’
“Ultimately, the endurance of Finney’s story and the concept of ‘pod people’ can be attributed to the fact that it’s not a metaphor for any one fear, but rather dozens.”
In Real Life: ‘Slender Man’ and the Clash of Media
“Just as the internet unleashed the Slenderman, it is culpable in bringing forth another seductive monster who uses this technology to warp minds and sow division…”
Review: David Gordon Green’s ‘Halloween’
“‘Halloween’ might be funny, but it’s also the nastiest, most violent entry in the series yet.”
Brooklyn Horror Film Festival Review: Daniel Goldhaber and Isa Mazzei’s ‘Cam’
“‘Cam’ is an uncomfortable watch, despite its absolutely dazzling visuals and outstanding production design.”
London Film Festival 2018 Review: Luca Guadagnino’s ‘Suspiria’
“A swirling, tumbling vision of Cold War paranoia and coven politics, ‘Suspiria’ will both astound and baffle; the conflict that defines its muted streets, full of uneasy dreams and restless feet, will come to bear on its audience and their nightmares.”
NYFF 2018 Review: Claire Denis’ ‘High Life’
“Denis’ approach resembles that of Pattinson’s performance: pointedly pared down to the bare minimum without fully untethering from recognizable humanity.”
VV Shudder Selects: Using the Camera to Confront the Male Gaze in ‘Revenge’
“Fargeat is almost saying, ‘well, if you want to look at her, you must look at her no matter her condition.’ It is a grotesque way of calling out the male gaze, but it is an effective one.”
Welcome to the War: Power Politics in the ‘Predator’ Franchise
“The ‘Predator’ franchise is a repository of the fears that plague the powerful. The context changes, but the fear persists — the fear that the conqueror may one day become the conquered.”
‘What Keeps You Alive’: A Gorgeous, Blood-Pumping Rumination on Betrayal
“Minihan’s tale is a moody, memorable work of art that dares its audience to meditate on the layers and anxieties of love and deceit.”
Arrow Video FrightFest Review: Pascal Laugier’s ‘Incident in a Ghostland’
“Both characters are lazy, ugly sketches of deviancy, leaning on ableist and transphobic stereotypes in the place of characterisation.”
Arrow Video FrightFest Review: Ezequiel Endelman and Leandro Montejano’s ‘Crystal Eyes’
“A loving tribute to the days of switchblades and shoulder pads, ‘Crystal Eyes’ gives credence to the giallo genre through its tongue-in-cheek absurdity and commitment to the transitory styles that defined its later years.”
VV Shudder Selects: The Horrors of Friendship in ‘The Descent’
“While ‘The Descent’ is grounded in female friendship and showcases the power of women without the support of men, it also highlights the futility of teamwork in such a dire situation.”
An Undercooked Genre Stew: Marco Dutra and Juliana Rojas’ ‘Good Manners’
“‘Good Manners’ isn’t without its share of redeeming factors, to be sure, but Dutra and Rojas are simply hamstrung by their chosen medium, which pits an overabundance of ideas to a constricting runtime.”
New Nightmares: ‘Freddy vs. Jason’ and the Meaning of Horror Movies
“‘Freddy vs. Jason’ is — like almost all horror movies — a signpost for the anxieties of an era, looking much like the prestige horror movies of today will look from the vantage point of the next decade.”
A Problem Without a Solution: On Alex Garland’s ‘Annihilation’
“The body and the mind, and the horror therein, may be renewed through a metamorphosis of perception, as there is hope to be found in letting it, whatever it is, grow.”