REVIEWS

More evaluative analyses of new (and re-) releases, revivals, restorations, and other notable films
REVIEW

(Nikyatu Jusu, USA, 2022)

BY JOSÉ TEODORO  |  November 21, 2022

Nanny begins with Aisha (Anna Diop) asleep. Shadows, undulations, and a spreading dampness affect her bedclothes, while a spider makes an entrance just as Aisha wakes with a start. It’s as though a tiny aperture has opened between our heroine’s nightmares and waking life…

REVIEW

(Mark Mylod, USA, 2022)

BY LAURA KERN  |  November 18, 2022

With his cold, enigmatic handsomeness and piercing blue eyes, Ralph Fiennes was meant for villainy. His magnetic portrayal of the execrable Nazi butcher Amon Goeth in Schindler’s List first lured American audiences in, and he went on to play other notable baddies such as…

REVIEW

Arrebato (Rapture)

(Iván Zulueta, Spain, 1979)

Birthed during the cultural thaw that immediately followed the end of the Franco dictatorship, Basque writer-director and designer Iván Zulueta's 1979 feature Arrebato erupts like a massive discharge of so much repressed anxiety and despair.

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BY  LAURA KERN  |  Month 00, 2021

GUIDE | MODERN SLAYERS

Beast

(Michael Pearce, UK, 2017)

Beast is a lot of movies in one package - fractured fairy tale, belated-coming-of-age story, psychological drama, regional horror film - but above all it's a calling card for its leading lady, Jessie Buckley.

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BY  STEVEN MEARS  |  Month 00, 2021

REVIEW

Humongous

(Paul Lynch, USA, 1982)

In what could be the fastest-resulting rape revenge movie, a drunken lout brutally forces himself on Ida, the young woman who doesn't return his affections, during a party over Labor Day.

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BY  LAURA KERN  |  Month 00, 2021

GUIDE | MODERN SLAYERS

Beast

(Michael Pearce, UK, 2017)

Beast is a lot of movies in one package - fractured fairy tale, belated-coming-of-age story, psychological drama, regional horror film - but above all it's a calling card for its leading lady, Jessie Buckley.

READ MORE >

BY  STEVEN MEARS  |  Month 00, 2021

REVIEW
(Iván Zulueta, Spain, 1979)

Produced during the cultural thaw that immediately followed the end of the Franco dictatorship, Basque writer-director and designer Iván Zulueta’s 1979 feature Arrebato erupts like a massive discharge of so much repressed anxiety and desire.

BY JOSÉ TEODORO  |  October 31, 2021

REVIEW
(Zach Cregger, USA, 2022)

Lately, the art of crafting a subtle and captivating movie trailer feels lost. But the official trailer for Barbarian not only grabs your attention, it also manages to reveal the film’s critique of gender dynamics while keeping the main story line hidden from view.

BY KATIE SMALL  |  October 3, 2022

REVIEW
(David Prior, USA/South Africa/UK, 2020)

There is a lot of misdirection in David Prior’s ambitious, scary, and exhilaratingly convoluted The Empty Man. For its first 20 minutes it plays like lost-in-the-wilderness adventure horror, following a group of American friends backpacking through the mountains of Bhutan...

BY MICHAEL KORESKY  |  October 31, 2021

REVIEW
(Damon Packard, USA, 2018)

The TV is always on in Fatal Pulse, the most recent release from underground horror legend Damon Packard. Set in 1991, Packard’s 2018 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

REVIEW
(Chito S. Roño, Philippines, 2017)

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.

BY LAURA KERN  |  March 14, 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

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 motivation, inviting the audience to invest in its characters’ plights...

BY STEVEN MEARS  |  September 19, 2022

REVIEW
(Iuli Gerbase, Brazil, 2021)

Brazilian writer-director Iuli Gerbase’s debut feature begins with the whole of humanity being forced indoors by a pervasive vapor as deadly as it is seemingly innocuous. As days, weeks, months pass with no indication of when the rose-colored threat will recede...

BY JOSÉ TEODORO  |  March 1, 2022

REVIEW
(Charlotte Colbert, UK, 2021)

An intriguing slice of Gothic psychological horror, She Will follows Veronica Ghent, an aging, high-maintenance, pill-popping ex–movie star recovering from a double mastectomy. She’s abrasive and cold, yet Alice Krige brings the captivating antiheroine to vivid life.

BY KATIE SMALL | July 19, 2022

REVIEW
(Christian Tafdrup, Denmark, 2022)

The English title of Christian Tafdrup’s third feature initially reads as a strategy to draw horror fans, a pleading form of genre assurance that the film’s anodyne original Danish title, Gæsterne, or The Guests, cannot offer. 

BY JOSÉ TEODORO  |  September 12, 2022

REVIEW
(Chloe Okuno, USA, 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...

BY YONCA TALU  |  June 24, 2022

REVIEW
(Sean King O’Grady, USA, 2021)

In late 2001, my girlfriend and I moved from New York to Austin, Texas. We had some friends who’d recently gone down there and we’d never been away from New York. We knew a lot—especially in those months following September of that year—but we didn’t know tornadoes.

BY WILLIAM BOYLE  |  October 31, 2021

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

REVIEW
(Vincent Grashaw, USA, 2022)

The enduring allure of Southern Gothic seems inextricable from the biblical entropy that haunts its storytelling, segregating it from the vagaries of time and culture wars like an oppressively protective porch mama.

BY JOSÉ TEODORO  |  August 8, 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

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. These two similar, alternately revealing and bewildering genres contain stories...

BY VIOLET LUCCA | March 25, 2022