REVIEW

(Kurtis David Harder, USA, 2022)

BY LAURA KERN  |  May 25, 2023

The word alone induces twinges of dread and disgust: “influencer,” along with its evil siblings “vlogger,” “social media personality,” “YouTuber,” and “TikTok sensation,” have made our depreciating society even grimmer.

REVIEW

(Léa Mysius, France, 2022)

BY MARGARET BARTON-FUMO  |  May 18, 2023

A witchy tale of time travel, young love, and sporty women, Léa Mysius’s sophomore feature is an entrancing puzzle film anchored by compelling performances. 

THE LATEST
    FRESH BLOOD
INTERVIEW

Brad Anderson

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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.”

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BY GLENN McQUAID  |  October 31, 2021

REVIEW

Tangerine Dream’s The Keep

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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...

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BY CHLOE LIZOTTE  |  October 31, 2021

ARTICLE | FEAR FRANCHISES
The ultimate evil-kid figure presides over the first two of hopefully many Orphan films.

A horde of diabolical children have preceded Esther of Orphan (2009), directed by Jaume Collet-Serra, but she has secured a place among horror cinema’s most memorable enfants terribles, even before its long-awaited prequel...

BY KELLI WESTON  |  April 28, 2023

Quentin Dupieux’s singular brand of outlandish humor reaches gory new heights with Smoking Causes Coughing.

For no apparent reason, at the start of Rubber (2010), perhaps Quentin Dupieux’s best-known film, a sheriff pops out...

BY LAURA KERN  |  March 31, 2023

REVIEW
(Mark Jenkin, UK, 2022)

It is springtime 1973, and the days are bright on a small island off the coast of Cornwall. A horticulturist (Mary Woodvine), known only as the volunteer, is the island’s sole inhabitant. Or is she? 

BY JOSÉ TEODORO  |  March 28, 2023

GUIDE | CORE HORROR
(Tim Burton, USA, 1988)

Even after the financial success of Tim Burton’s 1985 feature debut, Pee-wee’s Big Adventure, Warner Bros. rejected his vision for Batman and he was left in search of a follow-up.

BY ANN OLSSON  |  March 17, 2023

GUIDE | ORIGINS
(Jacques Tourneur, USA, 1943)

A nurse leads a catatonic through an expanse of moonlit cane. They pass displays of sacrificed animals before encountering the towering, shirtless, dead-eyed Black man who grants...

BY JOSÉ TEODORO  |  March 17, 2023

(Michelle Garza Cervera, Mexico/Peru, 2022)

Often considered a sacred rite of passage, pregnancy is an aspirational, much-coveted physical state for women the world over.

BY MARGARET BARTON-FUMO  |  February 10, 2023

INTERVIEW
The intricate black magic of practical effects, horror and comedy fusion, and subversive satire, according to the trailblazing writer-director of Tales from the Hood.

I’ve reached a place of acceptance where I can admit without shame that I watch scary movies between my fingers...

BY MELISSA LYDE  |  January 31, 2023

REVIEW
(Pete Ohs, USA, 2022)

A stalker situation gone berserk; a cursed trailer home situated in the flat vastness of chilly, rural New Mexico; a provocative, post-coital admission of murder: Jethica would seem equipped for full-blooded horror if...

BY LAURA KERN  |  January 13, 2023

GUIDE | MODERN SLAYERS
(Bruce McDonald, Canada, 2008)

In the beginning was the Word, and the Word was: “What?” This syllable, spoken by Grant Mazzy (Stephen McHattie), shock jock in decline, is in response to an encounter at a traffic light as he’s driving to work in the...

BY TOM PHELAN  |  January 3, 2023

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    RAVENOUS
ARTICLE | ESSAY
The cannibalistic Bones and All fortifies, and darkens, Luca Guadagnino’s habitual seductive scenarios, in which heightened stylistics often cloud sexuality.

Bones and All—Luca Guadagnino’s latest monument to ill-fated love, based on the 2016 young-adult novel by Camille DeAngelis...

BY KELLI WESTON  |  November 23, 2022

REVIEW
(Kyle Edward Ball, Canada, 2022)

We go to the movies to see ghosts, whether they be the likenesses of long-gone actors, objects, or edifices, or the suggestion of specters imprinted in the gloom of otherwise benign images.

BY JOSÉ TEODORO  |  February 2, 2023

GUIDE | CORE HORROR
(David Cronenberg, USA, 1986)

It’s an unfortunate fact of life: even super-smart women sometimes end up with terrible boyfriends. This, along with a very different tragic, universal reality—everyone’s body radically changes and deteriorates with...

BY VIOLET LUCCA  |  October 31, 2022

GUIDE | MODERN SLAYERS
(Joel Anderson, Australia, 2008)

It’s both a mystery and a shame that Joel Anderson has directed only one feature, emerging out of nowhere to unleash a film that has slowly gained cult status, only to pretty much disappear from the movie world.

BY RUFUS DE RHAM  |  October 31, 2022

ARTICLE | FIRST BLOOD
From a pool of strong contenders, Poltergeist emerged as the defining film of an ’80s childhood.

In 1983, JoBeth Williams appeared in the ensemble of Lawrence Kasdan’s The Big Chill, thus immortalizing herself as an avatar for white baby boomery. 

BY MICHAEL KORESKY  |  September 30, 2022

REVIEW
(Ti West, USA, 2022)

This past March, X, Ti West’s gleefully raunchy hybrid of two late-’70s subgenres (farmhouse horror and farmer’s-daughter porn), overachieved in four meaningful ways. It balanced lurid camp with authentic human...

BY STEVEN MEARS  |  September 19, 2022