The buzz around David Gordon Green’s Halloween has been insane. Fresh blood behind the lens, the blessings of franchise instigator/genre icon John Carpenter, and the return of Jamie Lee Curtis to a role that launched her career back in 1978. If you ignore Rob Zombie’s remake and it’s sequel,
Paul Schrader has had a reputation for weighty mainstream releases since penning the script for Taxi Driver in 1970.
Tremble, Tremble!!! The Witches are Back… Remakes can be controversial, especially in the horror genre. The fandom around genre classics can get territorial, defensive over their nostalgia, enraged at the very idea of a new “insert film here”. When Luca Guadagnino’s Suspiria was announced, there was a very particular type of confused rage. Guadagnino is […]
Ari Aster’s debut film has crawled under the skins of audiences all over the world by now. Hereditary’s simple, family-in-a-grief-vacuum, approach to genre filmmaking is a
There’s a lot of BS floating around just now regarding the writing credit on William Barrett’s directorial debut Temple. If you’re to believe the posters, Temple is the latest potentially lucrative film from the mind of Simon Barrett, writer behind The Guest, You’re Next, and last year’s surprise Blair Witch sequel.
Thankfully, Bloody Muscle Body Builder in Hell is as fun as it sounds. The debut film from Japanese director Shinichi Fukazawa is an adoring love-letter to the age of V/H/S and the morals cheap direct-to-video entertainment. In it, Shinji
Last year Yeon Sang-Ho’s animated horror Seoul Station plotted the course of a viral outbreak in South Korea with solid, but not groundbreaking, results. The hype for Sang-Ho’s debut live-action film has been unparalleled and the reviews overwhelmingly enthusiastic. Thankfully its deserved. Seok-Woo (Yoo Gong- Age of Shadows) is a self-serving businessman with little time […]
Cary Hill’s debut film Scream Park belongs to the outer rings of straight-to-DVD Hell, its cardinal sin? Being dull as dishwater and twice as disposable. True, the film comes from a band of amateurs funded via Kickstarter, but a lack of budget doesn’t quite account for the systemic issues with Hill’s low-key slasher.
A low budget independent horror film is not necessarily a bad horror film, but George Clarke’s The Blood Harvest is a tiring exercise in scuzzy low-end high-school filmmaking, the kind that isn’t worth your time.
Anthony DiBlasi’s latest offering is the Assault on Precinct 13-inspired Last Shift, a relatively solid excursion into supernatural territory with some great scares up its sleeve and some nice references on its mind.