Menu
The Substance opens with its simplest, most natural image: a raw chicken’s egg, the yolk yellow and dewy, lying flat on a white background. A long needle full of an unnaturally green fluid enters the frame and is injected…
I first watched Pascal Plante’s Red Rooms months ago upon its Canadian release, and it was with no shortage of dread that I sat down to watch it again in preparation to write this review.
FRESH BLOOD
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
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
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
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
I say “hello” into a telephone and Chucky says “hi” back. I realize that I perhaps haven’t adequately prepared myself for what this might feel like.
BY FRANK FALISI | September 3, 2024
After he’d fundamentally abandoned Hollywood moviemaking and cast his lot...
BY STEVEN MEARS | August 20, 2024
In 1966, two Moscow film students pitched a horror feature based on a classic Slavic witch tale, Nikolai Gogol’s Viy (1833). The khudsovety (artistic committees) that...
BY KEVIN McNEER | August 6, 2024
Consider the Dies Irae. Eight dire notes to remind you that you are going to die.
BY TOM PHELAN | July 26, 2024
BY MARGARET BARTON-FUMO | July 19, 2024
About a decade ago, an intriguing new contender stepped into the horror arena. It wasn’t so much a grandstanding moment as a quiet entrance...
BY LAURA KERN | July 12, 2024
Set in the mist-shrouded woods of Upper Austria in the 18th century, the latest film from writer/director duo Veronika Franz and Severin...
BY JOSÉ TEODORO | June 28, 2024
A place where no actual blood was spilled—at least to my knowledge—my grandmother’s house proved strangely—even sagely—sanguinary as it pertained to...
BY COLIN FLEMING | June 19, 2024
“Because you were home.” That’s it. The best home-invasion movie ever made is built on a foundation of senselessness. There are people in your house trying to kill you and you don’t know why.
BY LAURA WYNNE | May 22, 2024
RAVENOUS
Though she’s not generally counted among the canon of horror’s distinguished performers...
BY KELLI WESTON | May 9, 2024
The premise, like the ambient air of fatalism, owes as much to film noir as it does horror. A man wakes in a place he can’t remember arriving at, his body bearing the ravages of some...
BY JOSÉ TEODORO | April 15, 2024
Done right, a movie can conjure feelings you typically wouldn’t have—or, in the case of many dark genre works, ones you absolutely don’t want. The powerhouse Femme...
BY LAURA KERN | March 29, 2024
Seen from the vantage point of the present, any film with the barest hint of a quarantine narrative can only remind its audience of the COVID pandemic. There is a solipsism at play here, though one that is in mangled, fearful conversation with every other...
BY NICHOLAS RUSSELL | March 22, 2024
There is nothing quite so destabilizing as being told again and again that you are someone you are not.
BY LAURA WYNNE | March 8, 2024
At this crazy moment, when film history is caught in the grip of multiple clichés that grind on and on and on—puerile revenge...
BY KENT JONES | September 10, 2023
