No Death for Me
Post-crypt horror in the ever-homeward Eastertide spirit.
Horror Pluck of the Irish
Films vernally ripe and darkly coiled for a suitable viewing marathon with St. Patrick.
Won’t You Be My Horror Movie?
Home-viewing fright films for Valentine’s Day with the loving Cupid seal of approval.
Cash on Demand
For all of Hammer’s reliance on its tried-and-true monsters, the studio did a fair amount of foraying. Hammer horror could take myriad forms beyond the familiar Dracula, Frankenstein, and Mummy pictures.
Anna and the Apocalypse
“Horror” and “musical” are two terms that don’t exactly go hand in hand. Aside from the everlasting midnight phenomenon The Rocky Horror Picture Show and the growing cult-favorite Phantom of the Paradise, there aren’t many movies mixing those genres to speak of.
I Come in Peace
Part of the Channel 11 Saturday Afternoon Movies canon, I Come in Peace (released outside the U.S. as Dark Angel) is the third-best Al Leong Christmas movie (after Die Hard and Lethal Weapon, of course) and may have the most explosions of any Christmas movie ever.
Silent Night, Bloody Night
No one who made 1972’s Silent Night, Bloody Night had much of a clue what the story was supposed to be, which sounds like a massive impediment, but it’s all good here in what is tantamount to a progression of darkening images and moods spun around the bare bones of an early Christmas slasher with haunted-house elements.
Silent Night, Deadly Night
In theory—well, maybe—one is not supposed to laugh while watching the events of Silent Night, Deadly Night (1984) unfold, but damn does this feel cathartic and mirth-inducing.
You Are Not Me
General, rather mundane anxieties (and some more alarming pitfalls) that can accompany travel—luggage lost in transit, exhaustion, impending long-distance jet lag, a car colliding with a surprise creature on the road—set a mood of slow dread that grows increasingly sinister throughout You Are Not Me, writer/directors Marisa Crespo and Moisés Romera’s intriguing contribution to the terror-within-the-home and holiday-frights subgenres.
Better Than One
Were you to remark that the 1940s represented a peak in American pop-cultural horror, most people would automatically think you were talking about movies.