A group of teenagers decides to go camping at the lake. Four of them are in a Jeep, two drive a motorcycle (this will be important later). None of them seem to know where it is. The one guy who has been there before only has vague notions. No one even knows what the lake is called. They can’t find it on a map. Someone suggests that maybe it is too small to be on one. They pick up a scraggly looking hitchhiker. He says he knows where that lake is. He doesn’t say where he is going but he
Results tagged “Horror”
I'm not one prone to hyperbole but Deadly Manor might be the stupidest movie I've ever seen.
One of the best '80s slasher films, My Bloody Valentine returns to Blu-ray with newly restored video and audio.
My Bloody Valentine was, if not quite a box-office bomb, a severe disappointment. It was released right at the height of the slasher craze, a year after Friday the 13th had directly copied the formula of John Carpenter's wildly successful Halloween, upped the gore factor, and turned what was a phenomenon into an entire genre. Cheap and easy to make, most slasher movies were throwaways, only interesting in their sometimes innovative and gruesome special effects. And despite hitting the basic tropes spot on (takes place on a holiday, has a masked killer in an interesting costume, and plenty of "teenagers"
Arrow Video presents this late entry into the slasher genre that spends too much time developing character when it should be chopping up bodies with an axe.
It is always fascinating to me when the makers of low-budget slasher films try to inject their films with an actual story and well-developed characters. This seems rather pointless when all fans of the genre want is attractive people being hacked to death in creative ways. This is especially interesting as the majority of people who make low-budget slasher films wouldn’t know an interesting story if it slapped them in the face with a black leather glove, nor a well-developed character if it stabbed them in the eye with a shiny, sharp knife. Edge of the Axe is a Spanish-American
The Soska Sisters’ new take on David Cronenberg’s classic.
Press release: Cinema Sentries has teamed up with Scream Factory to award one lucky reader Rapid on Blu-ray. For those wanting to learn more, read the press release below: Rabid comes to Blu-ray from Scream Factory on February 4, 2020, and includes an audio commentary with directors & writers Jen & Sylvia Soska, an interview with actress Laura Vandervoot, and the theatrical trailer. A gruesome accident ... an experimental treatment ... an unstoppable nightmare. Jen and Sylvia Soska bring you a terrifying new take on the legendary David Cronenberg's Rabid. Demure and unassuming fashion designer Sarah (Laura Vandervoort, Jigsaw), horribly
A meditative zombie flick that revitalizes the genre while simultaneously exploring its origins.
With Zombi Child, director Bertrand Bonello pulls off both a reinvigoration of the zombie genre and a reclaiming of its origins. Over the years, people have associated zombies with their hunger for human flesh and loss of morality and consciousness once they become zombified. But Bonello aims to make a meditative horror drama about colonialism and adolescence. Zombi Child follows two different storylines. One set in Haiti 1962 involving Clairvius Narcisse (Mackenson Bijou), the most famous victim of the practice called zombieism who was drugged and sold into slavery while in a susceptible mind set. The other storyline is set
A two-hander where your two hands will be firmly embedded in your armrests.
I wasn’t at all familiar with director and co-writer Robert Eggers until this masterful sophomore effort, but immediately added his debut, The Witch, to my must-see queue after falling under the spell of The Lighthouse. The film really shouldn’t work, and yet it’s about as close to perfection as I encountered in last year’s film slate. It’s a dialogue-rich two-hander that is so stage-ready it’s just missing spotlights, it’s a twisted cerebral thriller with some insane freak-out moments, and it’s filmed on actual film in black and white in a nearly-square 1.19:1 aspect ratio that legitimately makes it seem like
It marries the physical and mental facets of horror.
A little question strikes me every time I watch a horror movie. Do horror movies exist in the universe of other horror movies? Isn't it quite apparent that an old mansion in the woods is a set up for the upcoming horror? The person entering it should be aware of it or at the least, shed little doubt, provided he/she has seen at least one horror movie in their life. Andrew Desmond's The Sonata has a quite interesting treatment. The evident intent of horror films would be to scare the living shit out of the audience. Some choose jump scares,
In which Pennywise, the shapeshifting killer clown, strikes back! And scares no one.
IT is back. The Losers Club, a tight-knit group of kids—good kids—with chips on their shoulders, humiliated Pennywise the dancing (and shapeshifting) killer clown (Bill Skarsgard), forcing him to hide in his hole. Now, 27 years later, Pennywise (he, she, “IT”) wakes from its slumber, hungry for flesh. Loser flesh. As conceived by director Andy Muschietti, Pennywise always looks and sounds demonic. But IT Chapter Two and its 2017 predecessor over-telegraph the evil. IT’s mouth drools. The head is bulbous, spider-like. The blood-tear makeup is sinister. Skarsgard goes all in to give us all kinds of creep. By contrast, the
Perhaps the best of the run of Stephen King TV movies, Storm is atmospheric, creepy, and slow, slow, slow.
TV made sense as its own thing until about 20 years ago. Nowadays, what constitutes TV is so sprawling and broken up that it's not really one thing anymore. Twenty years ago, cable was not king, and there weren't that many networks (though, to understand the zeitgeist of TV criticism, one should note Bruce Springsteen could chart a single in 1992 called "57 Channels and Nothin' On") and so the big TV networks competed in splashy ways to get eyes-on, especially in sweeps weeks. Sweeps were the few times during the year, one a quarter, when the Nielsen Company processed
Primer's Shane Carruth stars in psychological and supernatural horror tale, where a suicide returns from the dead... but not alone.
A spiral is integral to The Dead Center's imagery and story. A spiral appears on the photographs of a body from a crime scene, some sort of scar or lumps of tissue on his person. It wasn't seen in the autopsy because none was performed - the man breathes back to life on the gurney in the morgue, sneaks out, and ends up in a psychiatric ward. He was long dead when the paramedics brought him in; now he's catatonic, staring, and has become two doctors' problem: the medical examiner whose corpse has gone missing, and the psychiatrist who wants
Four weird, gripping and often terrifying films of spectral revenge that began the J-horror boom are now on Blu-ray.
Horror as a genre tends to go through brief periods of inspiration, followed by long slogs of imitation. If you're unlucky, the inspired breakout hit is something like Saw, and as a horror fan you have to sit through years of vile dreck until something better comes along to rejigger the landscape. In the late '90s, horror was in one of its down-turn phases: the mid-'90s crackdown on letting youngsters into R-rated movies had the effect (still felt today) that to get the primary audience for horror, the young, you needed to be PG-13, which means violence has to be
While understandably not held in high regard, there's still some fun to be had seeing Lee back as the Count.
Scars of Dracula is Hammer's sixth Dracula film and the fifth to feature Christopher Lee. It follows a familiar template: Dracula is resurrected, causes mayhem among the local citizenry, sets his sights--er, fangs on one particular lovely maiden, and is defeated in the end. It's one of the lesser of the series because it's a bit of a retread, but it was still enjoyable when one is in the mood for some classic horror. Scars opens in Dracula's castle, not the church where he died in the previous film, Taste the Blood of Dracula. As stated in the extras, this
Slasher horror meets spring break comedy in this terrible '80s hybrid from schlock master Umberto Lenzi.
If you’ve ever wondered what it would be like to mix an ‘80s slasher with an ‘80s spring break comedy, then Umberto Lenzi’s Nightmare Beach is for you. Well, actually it isn’t for anybody because it is a terrible, terrible movie. It wasn’t even for Umberto Lenzi for he swears he didn’t direct it (at least according to IMDB trivia). He was signed on to direct but at the last minute decided it was too similar to one of his other films (Seven Blood Stained Orchids) and begged off the production. The credits name a “Harry Kilpatrick” as the director
Ari Aster's follow-up to Hereditary confirms his unique talent.
Midsommar is marketed as a horror film, but it’s so different from the typical entries in that genre that it really belongs in a category all its own. While there is a bit of stomach-churning gore and an overbearing sense of dread as writer/director Ari Aster leads us down his twisted rabbit hole, there’s also an intriguing anthropological study of an insular Swedish culture that reveals unexpected layers of beauty in its madness. Where most horror films increase their scares by incorporating night settings, Midsommar frightens viewers in the full light of day during a festival occurring during the season
Arrow Video does an excellent job presenting this should-have-been forgotten slasher in a very nice package.
The 1980s were a great time for horror movies in general and slasher flicks in particular. With the advent of home video and the booming popularity of video rental stores, there was suddenly a need for more and more videos to stock those shelves. Lots of studios specializing in cheaply made, straight-to-video movies sprung up overnight. Horror fans are a motley lot and easily amused. They are not known for snobbish attitudes, willing to take a chance (and often enjoy) films of lower budget and artistic caliber. As long as the film has plenty of violence, at least some blood-soaked
Midnight screenings of seminal horror films, including John Carpenter’s Apocalypse Trilogy and two Dia De Los Muertos-themed screenings.
Press release: The Los Angeles-based Secret Movie Club has officially unveiled the programming slate for its FESTIVAL OF HORROR film series, which will run throughout the month of October and culminate on November 2. The FESTIVAL OF HORROR films run the gamut from the classic (a FRANKENSTEIN/ BRIDE OF FRANKENSTEIN Universal Studios matinee double feature) to the contemporary (THE WITCH), and from the iconic (including a TWILIGHT ZONE MARATHON) to the obscure (a double feature of two films produced by Val Lewton for RKO Studios) and includes John Carpenter’s seminal APOCALYPSE TRILOGY. The FESTIVAL OF HORROR film series begins on
Arrow Video does a nice job spiffing up this movie that is so bad even the director disowned it.
Wes Craven is often placed near the top of lists concerning the greatest horror filmmakers of all time, and rightly so. He was at the forefront of the gritty, ultra-violent new wave of horror films in the 1970s making such low budget classics as The Last House on the Left and The Hills Have Eyes. In the 1980s, he rejuvenated the slasher genre by creating the iconic Freddy Kreuger in the Nightmare on Elm Street, then reinvented it with the very meta and very ‘90s Scream films. But while he deserves all the accolades, let us not forget he was
Filled with blood and betrayal, Harpoon is sometimes tough to swallow, but easy to love.
The first 15 minutes of Rob Grant’s Harpoon are slow. Grant is methodical in the way he introduces each character, using archival footage and flashbacks to give all the exposition one needs for a good story. We understand each of our three protagonists, or antagonists by the end of the film, and can plainly see where they fit within the interlocking friendships. The roles are set. The pecking order is established. And with that, Harpoon doesn’t just walk or run to the next conflicts, it sprints at breakneck speed, shattering everything in its path. The film centers around three friends,
An erotic and grotesque twist on a haunted house story, with an unsettling horrific vision that supersedes some film-making fumbles.
Roger Ebert hated Hellraiser when it came out, giving it half a star. He starts with the money quote Stephen King gave the director/writer on his literary debut: "I have seen the future of horror, and it is Clive Barker." Ebert quips: "Maybe Stephen King was thinking of a different Clive Barker." Cute, but it ignores the strengths that Barker was bringing to the horror game, which in the mid-'80s literary world was becoming big business. First, Clive wrote with style. There are decent stylists in the horror world at the time (Peter Straub, Ramsey Campbell) but there was a
How Crohn's disease became a chestburster.
I've seen many making-of and behind-the-scenes featurettes for movies before, especially ones with elaborate special effects. I've seen documentaries about the visionaries behind creature design. What's rare is a film that has such a breadth and wealth of inspiration that merely looking at everything it drew from and had injected into it to become an iconic, genre-defining powerhouse warrants an hour and a half discussion with experts just to get a handle on all of it. Insert Memory: The Origins of Alien, directed and written by Alexandre O. Philippe, which dives deep into all of the decades of influence that