After four canonical films and two offshoots, the indomitable series returns to glory with Prey.
Not just a key figure in the emergence of the J-horror movement, Kiyoshi Kurosawa is also a contender for the most important filmmaker in all of Japanese horror history.
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.
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 , her intense stare much older than her 9 years, pinches her older, nonspeaking autistic sister, Anna. Is it a playfully innocent gesture, testing a disability that she, like everyone else, can’t fully understand? Or is there something more sinister, Village of the Damned–style, at play here?
Audiences and filmmakers alike can’t seem to get enough of body horror. The Soskas went for it full-throttle with their 2019 remake of Cronenberg’s Rabid (an early work by one of the subgenre’s originators). But seven years prior, the Canadian sister directing duo also known as the Twisted Twins made their body-altering masterpiece.
Coulrophobia—the fear of clowns—is no joke. Pennywise, that damn clown hiding under the bed in Poltergeist, and just good old trips to the local circus paired with a child’s dark imagination have been nightmare fuel for many.
After a curiously cutesy opening-credits sequence featuring Murders in the Zoo’s cast members mirrored with similarly posed animals, a quick tonal shift occurs, transitioning to perhaps the most gruesome film scene of its day.
Like the best fairy tales, which often portray darkness through the lens of childhood innocence, Laurín tells a dreamily surreal story of hardened youth.
Marriage and remarriage have forever been prominent motifs in the comedy genre. But with matrimonial success rates not exactly encouraging in much of the world, and divorce illegal in the Philippines, they’re equally suitable grist for the horror mill.
While 1981’s My Bloody Valentine may rightfully be the go-to Valentine’s Day slasher for anti-romantics who prefer their gooeyness blood-soaked and sugar-free, Cannon Films attempted to give it some competition later that year (though it didn’t hit U.S. theaters until April 1982).