ARTICLE | SOUNDS OF VIOLENCE

The director’s latest film, Flux Gourmet, further amplifies his wonderfully obsessive attention to the aural experience.

BY MARGARET BARTON-FUMO  |  June 24, 2022

One need only watch a few moments of Peter Strickland’s films to realize that the British-born, Hungary-based director is a stickler for detail. 

(Chloe Okuno, USA, 2022)

BY YONCA TALU  |  June 24, 2022

The toxicity of the male gaze has rarely been depicted on-screen with such chilling intensity as in Chloe Okuno’s debut feature Watcher. A refreshing take on the apartment thriller genre epitomized by films like Rear Window and Rosemary’s Baby, Watcher centers on Julia (Maika Monroe)… 

THE LATEST
    FRESH BLOOD
INTERVIEW

Brad Anderson

Text TK...

Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...TK...Text TK...Text TK...Text TK...Text TK...Text TK...

READ MORE >

BY VIOLET LUCCA  |  October 31, 2021

ARTICLE | FIRST BLOOD

Monster Hunting

In a pre-VHS world, BBC2’s Horror Double Bills paved the way for cherished father-bonding and a lifelong love of the creepy unknown.

One of the earliest memories I have is of my father pointing over to an abandoned rowboat in Dublin’s River Tolka and quite matter-of-factly stating that “a monster lives in there.”

READ MORE >

BY GLENN McQUAID  |  October 31, 2021

REVIEW

Tangerine Dream’s The Keep

Text TK...

Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text TK...Text Text TK...Text TK...Text TK...Text TK...Text

READ MORE >

BY MARGARET BARTON-FUMO  |  October 31, 2021

REVIEW

Fatal Pulse

(Damon Packard, USA, 2018)

The TV is always on in Fatal Pulse. Set in 1991, the underground horror legend Damon Packard’s latest film is drenched in pinkish-bluish gel lighting, a movie-world glow enveloping all in its path—especially antihero Trent Dupont...

READ MORE >

BY CHLOE LIZOTTE  |  October 31, 2021

ARTICLE | ESSAY
Cronenberg hallmarks may ripple through Crimes of the Future, but the director’s transcendent return offers fresh flavors of food for thought.

The opening image of David Cronenberg’s Crimes of the Future is arresting, enigmatic, exquisite, revealing an enormous capsized ship...

BY JOSÉ TEODORO  |  June 7, 2022

GUIDE | ORIGINS
(Edgar G. Ulmer, USA, 1934)

Aparagon of queer perversity, Edgar G. Ulmer’s unfathomable Universal horror hit gave major stars Bela Lugosi and Boris Karloff two of their greatest roles. In the first of many films together, the erstwhile Dracula and Frankenstein’s monster play a pair of intensely bonded frenemies...

BY MICHAEL KORESKY  |  June 13, 2022

ARTICLE | ESSAY
Looking back on the experience of Darren Aronofsky’s divisive masterwork and questions of misogyny in horror from a world unimaginably more surreal than the one we inhabited five years ago.

Over 20 years ago I made an agreement with Darren Aronofsky to never write about his work. It was the very end of the last century, in a charming fishing village in eastern Mexico...

BY LAURA KERN  |  June 7, 2022

REVIEW
(Eskil Vogt, Norway, 2021)

As The Innocents opens, a family of four are in the car headed to a new home. In the back seat sit two sisters: the lightly freckled Ida (Rakel Lenora Fløttum), her intense stare much older than her 9 years, pinches her older, nonspeaking autistic sister, Anna (Alva Brynsmo Ramstad).

BY LAURA KERN  |  May 13, 2022

INTERVIEW
The Knives and Skin director talks about her feature follow-up Night’s End, collaborating with Shudder, and the creative freedoms afforded by the
horror genre.

Jennifer Reeder is a proudly Chicago-based, truly independent filmmaker with over 25 years of experience in the business.

BY MARGARET BARTON-FUMO |  May 10, 2022

GUIDE | MODERN SLAYERS
(Sam Raimi, USA, 2009)

In 2009, Sam Raimi, the beloved cult-horror auteur of the Evil Dead films turned idiosyncratic mainstream genre director, unexpectedly released his best post-trilogy horror film.

BY MICHAEL KORESKY  |  June 14, 2022

GUIDE | ORIGINS
(Alfred Hitchcock, USA, 1946)

Uniting his powers of visual storytelling and his understanding of human foibles, Hitchcock served up a top-notch melodrama and spy thriller with Notorious. After making short films on behalf of the British war effort...

BY ANN OLSSON  |  June 13, 2022

ARTICLE | FIRST BLOOD
A young horror-seeker found his dark pleasures in classic monsters, Salem’s Lot, and the art house—and the search goes on

Horror stories know something that other stories don’t. William S. Burroughs named his book Naked Lunch after that “frozen moment when everyone sees what is on the end of every fork.” That’s how I remember my first horror movies: as a series of bright reveals...

BY TOM PHELAN  |  March 17, 2022

REVIEW
(Kate Dolin, Ireland, 2021)

Stories told within the framework of family drama can sometimes resemble folklore—digressive, dark, suspiciously elliptical, patent fabrications that only bear hints of an ancient truth that has since been lost to time. 

BY VIOLET LUCCA  |  March 25, 2022

MORE TO DEVOUR
    RAVENOUS
GUIDE | CORE HORROR
(Robert Aldrich, USA, 1962)

When Bette Davis as Jane served Joan Crawford’s Blanche her pet bird for “din-din,” a new strain of horror was born. Either “Grande Dame Guignol” or “psycho-biddy cinema,” depending on your degree of reverence...

BY STEVEN MEARS |  April 19, 2022

ARTICLE | FIRST BLOOD
Like a full moon, An American Werewolf in London transformed a young horror-director-to-be.

Despite all the Universal, Toho, and Hammer monster movies I’d been introduced to on Channel 48’s Creature Double Feature, nothing had prepared me for the moment when a friend’s older brother popped in a VHS copy of An American Werewolf in London at a sleepover.

BY HENRY MILLER  |  February 1, 2022

GUIDE | CORE HORROR
(Brian De Palma, USA, 1976)

Four years after he put aside the satirical, political experiments that defined his early career to make his first true thriller, the macabre and meticulously Hitchcockian Sisters (1972), Brian De Palma released Carrie and nearly perfected his horror technique.

BY MICHAEL KORESKY  |  June 14, 2022

ARTICLE | FEAR FRANCHISES
A deep dive into the world of James Wan and Leigh Whannell’s Insidious, one of the more complex, mystically minded horror franchises.

Last night I watched myself sleep then I flew away, a young boy named Dalton writes in crayon shortly before his spirit leaves his physical body and becomes prey to a horde of demons and ghosts in a dark realm called The Further.

BY NICHOLAS RUSSELL  |  February 1, 2022

REVIEW
(Jane Schoenbrun, USA, 2021)

I haven’t seen Jane Schoenbrun’s first feature, a 2018 documentary entitled A Self-Induced Hallucination. The film’s IMDb page offers a teasingly terse synopsis: “It’s about the internet, and it’s quite strange.”

BY JOSÉ TEODORO |  April 20, 2022

ARTICLE | FIRST BLOOD
BBC2’s Horror Double Bills paved the way for cherished father-son bonding and a lifelong love of the creepy unknown.

One of the earliest memories I have is of my father pointing to an abandoned rowboat in Dublin’s River Tolka and quite matter-of-factly stating that “a monster lives in there.”

BY GLENN McQUAID  |  October 31, 2021