BLOODY VALENTINE VIEWING GUIDE

New titles added February 11-19

ARTICLE | ESSAY

On being seen and heard at Sleepaway Camp.

BY COLIN FLEMING  |  June 20, 2025

Certain horror films have a knack for making viewers ask themselves, “Okay, what are we doing here?” and in this regard, 1983’s Sleepaway Camp is a prime example of the sometimes-edifying effectiveness of the tonal shift, which may say more about our preconceptions than what a work is really doing—and building toward—all along.

REVIEW

(Sean Byrne, Australia/USA/Canada, 2025)

BY LAURA KERN  |  June 6, 2025

With only three brisk features over 16 long years, Sean Byrne has become perhaps the most fervently anticipated horror filmmaker, to the frustration of impatient fans. His latest, Dangerous Animals—like his belated sophomore feature, The Devil’s Candy (2015)—proves worth the wait, and both fit in perfectly alongside The Loved Ones (2009)…

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

GUIDE | ORIGINS
(John Brahm, USA, 1944)

Marie Belloc Lowndes’s 1913 novel The Lodger—an expansion of her short story of the same name—has been an enticing proposition for filmmakers, and well it should, given its...

BY COLIN FLEMING  |  June 3, 2025

ARTICLE | ESSAY
My heart is the worst kind of weapon.

In my earlier Bloodvine Guide entry on Jean Rollin’s The Living Dead Girl, I tried to sum up the narrative and visual tropes of the lesbian…

BY LAURA WYNNE  |  May 30, 2025 

REVIEW
(Joshua Erkman, USA, 2024)

Fine art photographer Alex Clark (Kai Lennox), creeping into the haze of deep middle age, wants to go back to the old ways of doing things. He made a splash years ago with a series...

BY JOSÉ TEODORO  |  May 2, 2025

GUIDE | CORE HORROR
(Tim Burton, USA, 1994)

Movies don’t save lives, but they do relitigate memory and imagination. The beloved suddenly reappears in frame, reanimated through some alchemical bargain of light and motion.

BY FRANK FALISI  |  April 21, 2025

REVIEW
(David Cronenberg, Canada/France, 2024)

The title of David Cronenberg’s latest film resonates in myriad ways. “The Shrouds” is the name of an exclusive Toronto cemetery co-owned by inventor/entrepreneur Karsh...

BY JOSÉ TEODORO  |  April 15, 2025

GUIDE | UNEARTHED
(Andrew Fleming, USA, 1988)

In the discussion of the ’80s being the golden age of horror, Bad Dreams is far too often left out of the conversation. Granted, the film has its competition—coming from 1988, no less...

BY LAURA KERN  |  March 28, 2025

INTERVIEW
The DP and director on the fantastic potential in image-making/-seeing, learning to photograph the world, and the possibility of a Demon Knight sequel.

“This phrase ‘point of view’ has to be taken seriously,” said Serge Daney, referencing Fritz Lang’s great and Gothic Moonfleet (1955).

BY FRANK FALISI  |  January 13, 2025

The year in bad fathering, featuring Love Lies Bleeding, Cuckoo, Trap, and Abigail.

Evil father figures account for some of the most memorable characters in genre films and beyond. And, well, if you happen to have a shitty dad...

BY LAURA KERN  | December 31, 2024

GUIDE | UNEARTHED
(Mike Newell, UK/USA, 1980)

I recently visited Queen Hatshepsut, the model for the mummy in The Awakening and the novel it’s based on: Bram Stoker’s wild horror/fantasy The Jewel of Seven Stars. Stoker was with me in spirit in Cairo’s Grand Egyptian Museum...

BY KEVIN McNEER  |  November 9, 2024

MORE TO DEVOUR
    RAVENOUS
ARTICLE | EMBODIMENTS OF EVIL
The dead-eyed political aspirant Greg Stillson in David Cronenberg’s Stephen King adaptation encapsulates Trump-level terror.

Before we assess the villain, let’s begin with the hero—and “hero” is the correct...

BY JOSÉ TEODORO  |  November 3, 2024

REVIEW
(Coralie Fargeat, UK/USA/France, 2024)

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...

BY VIOLET LUCCA  |  September 21, 2024

(Pascal Plante, Canada, 2023)

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. This isn’t because the movie is bad, but because it so...

BY MICHAEL KRAS  |  September 6, 2024

INTERVIEW
Movie and life revelations from the actor behind Chucky and other iconic roles of darkness.

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

ARTICLE | EMBODIMENTS OF EVIL
The actor’s Oscar-nominated, atypically sinister turn supports the notion that unassuming fellows are often the ones to fear most.

After he’d fundamentally abandoned Hollywood moviemaking and cast his lot...

BY STEVEN MEARS  |  August 20, 2024

ARTICLE | SOUNDS OF VIOLENCE
Renowned composer Toru Takemitsu brought his own brand of sonic fear to the soundtracks of many genre highlights from the Japanese New Wave.

Consider the Dies Irae. Eight dire notes to remind you that you are going to die. This musical phrase from a 13th-century plainchant...

BY TOM PHELAN  |  July 26, 2024