“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.”
“Both characters are lazy, ugly sketches of deviancy, leaning on ableist and transphobic stereotypes in the place of characterisation.”
“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.”
“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.”
“‘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.”
“‘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.”
“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.”
“The ‘Phantasm’ films may be the best and most consistent source for on-screen existential terror, and their dream logic that allows for numerous interpretations keeps them endlessly watchable.”
“Imhotep, like the Monster, has come from the dead, and this informs the ways in which he relates to the living. More importantly, it impacts the ways in which he relates to death and mortality.”
“What’s truly terrifying about ‘Hereditary’ is how empty it really is.”
