Category Archives: Horror

They’re coming to get you, Barbera.

Late Night with the Devil (2024) Movie Review

Since I was a preteen, I have been insomniac off and on. Thus, I spent a good number of nights in my formative years in my parent’s basement flipping through television channels, broadcast and cable. I suppose late night TV, as a result, has something of a hold on me. Not late night in the Jay Leno sense, but in that sense of discovering weird programming that no self-respecting network/station exec would allow to be aired in the daylight. Footage of Anton LaVey on PBS, things of that nature.

Films like Ghostwatch, WNUF Halloween Special, VHYes and the like play into the odd draw of analog media, asking the question of what happens when Continue reading Late Night with the Devil (2024) Movie Review

Saw X (2023) Movie Review

19 years ago, James Wan’s Saw became a surprising hit for Lionsgate and a meaningful propeller for the 2000s cycle of torture porn horror films. Since then, that grisly subgenre has fallen far out of fashion, and Lionsgate is in a potentially pivotal moment where it is hoping to rejuvenate past successes. Both Saw X and The Hunger Games: The Ballad of Songbirds and Snakes are prequels; this is fitting, given the studio is looking backwards to its most profitable franchises in an attempt at similar box office success.

The trajectory of the Saw franchise, aside from being packed with lore rendered nearly incomprehensible due to sequel ret-conning and increasingly inane plot twists, has its ups and downs. After Continue reading Saw X (2023) Movie Review

Fantasia Festival 2023 Movie Reviews — Blackout, Stay Online and Vincent Must Die

Blackout, Stay Online, and Vincent Must Die are screening as part of the Fantasia International Film Festival, which runs from July 20 to August 9.


Stay Online

Eva Strelinkova’s Stay Online is a Screenlife film that follows Katya (Yelyzaveta Zaitseva), a woman who is Continue reading Fantasia Festival 2023 Movie Reviews — Blackout, Stay Online and Vincent Must Die

Scream VI (2023) Movie Review

Scream VI, as one of the film’s own characters tells us, is a “requel sequel” — i.e., a sequel to a franchise reboot which also follows some, if not all, of the continuity of the original film(s). We have been seeing many of these in the horror genre lately (and we are scheduled to see even more), so this is good territory for a “requel sequel” of Hollywood’s favorite meta-horror franchise to interrogate. Unfortunately, this interrogation falls flats.

This film picks up where the last one left off, with the two surviving sisters of the last Woodsboro murder spree, Tara and Sam Carpenter (Jenna Ortega and Melissa Barrera), relocating to Continue reading Scream VI (2023) Movie Review

The Collingswood Story (2002) is the First Screenlife Movie

This is the second installment in our “Psychotronic Cinema” series. (What is psychotronic cinema?)

The Collingswood Story has received something of a new lease on life with the continuing trend of “Screenlife” movies. Films which take place entirely on digital screen spaces find their origin point in 2002 with Collingswood. Though not Screenlife in the “pure” sense of taking place entirely on a screen (it’s maybe at 95%), Collingswood makes use of emergent technology in a relatively novel way – blocky early-2000s desktop aesthetic and all. A pandemic-era film like Host owes a great deal to this film, whose video chat technology amplifies a mood of isolation and loneliness.

Separate the film from its novelty, though, and Collingswood does not Continue reading The Collingswood Story (2002) is the First Screenlife Movie

Infinity Pool (2023) Movie Review

While I do find myself saying it quite often, I think “third act problems” is a strange statement. In most cases, a third act problem probably originates as a first or second act problem, as in, something needs to be resolved in the third act for the film to work and that does not happen. The third act reveals the problem, but it was an underlying structural problem that carries over across acts.

I make this distinction to say that Brandon Cronenberg’s Infinity Pool has major third act problems, but that these problems pertain to the film’s overall structure.

Cronenberg’s Possessor was my favorite horror movie of 2020. It is the type of film that does not give clarity to every angle of its story, but the overall Continue reading Infinity Pool (2023) Movie Review

Sick (2023) Movie Review

John Hyam’s Sick does one thing; thankfully, it does that thing pretty well.

Hyam’s previous film, Alone, was a similarly straightforward piece of genre formalism. Both films share the same singular goal: shoot people in peril. Unlike Alone, Sick comes with horror genre royalty in its byline. Kevin Williamson’s first feature screenplay since Scream 4, Sick is a cabin in the woods style slasher in the time of Covid. It is April 2020, and two college students (Gideon Adlon and Bethlehem Million) decide to quarantine together at a fancy, isolated cabin. And, as anyone who’s seen a horror film will already be well aware, no one is truly alone in an isolated cabin at night.

The first hour of this 84-minute film consists almost entirely of young people being stalked violently by an anonymous, knife-wielding killer. Unlike the other Williamson property this brings to mind, though, Sick is Continue reading Sick (2023) Movie Review

M3GAN (2023) Movie Review

Nothing says kicking off a new year at the movies quite like an AI-driven robot toy singing a haunting lullaby rendition of a Sia song a few hours after said robot violently attacks a mopey child bully.

Before the pandemic caused the movie industry to throw out the playbook on theatrical releases, January was a month notorious for its low-quality new releases. Traditionally, January fare includes Continue reading M3GAN (2023) Movie Review

The Third Saturday in October Parts 1 and 5 — Fantastic Fest 2022 Movie Review

So often in horror, people want to return to the past. Netflix’s Stranger Things reinvigorated the ’80s aesthetic. The new Halloween films hearken back to the 1970s look. Et cetera. This backward-looking adoration is all well and good. I can appreciate a good pastiche.

Jay Burleson’s The Third Saturday in October sets its backward-looking eyes on sleazy, regional horror of the late 1970s. It borrows its opening title narration from Texas Chainsaw and much of its plotting from Halloween. Positioned as a “lost” film, it comes off like the latest Vinegar Syndrome or AGFA release — a glossy remaster of a hazy, decidedly non-glossy 1979 low-budget slasher.

The emulation of the ’70s aesthetic is pretty handily nailed, from the floral pajamas to the wood-paneled walls to the excessive fog and southern-fried haze. And the film is Continue reading The Third Saturday in October Parts 1 and 5 — Fantastic Fest 2022 Movie Review

The Friedberg-Seltzer Massacre: How Two Men Single-Handedly Destroyed the Parody Genre

This is installment one in “The Friedberg-Seltzer Massacre: How Two Men Single-handedly Destroyed the Parody Genre.” The series, a career retrospective on the works of parody film writer-directors Jason Friedberg and Aaron Seltzer, aims to put their heavily maligned work into perspective. Why were their films equally successful and hated? And why did the pair disappear from Hollywood? Moreover, can anything good be said for the directors, whose films are widely considered to be some of the worst of all time.

Jason Friedberg and Aaron Seltzer achieved their first credit as a writing team on Spy Hard, the 1996 Leslie Nielsen espionage spoof. Their names appeared in the credits for the hit horror parody Scary Movie. Then, they went on to write and direct some of the worst comedy movies of the 21st century. Date Movie. Epic Movie. Disaster Movie. Meet the Spartans. Vampires Suck. The Starving Games.

Let’s not dwell on these parody clunkers, though. Not yet, at least. Let’s begin with Scary Movie, a very successful film that had a hand in reinvigorating the parody genre for a new generation. It launched a franchise. It launched the career of Anna Faris. It was truly influential in steering the broad comedy into the 21st century, at least in the short term.

Scary Movie was an ambitious pitch. Not because it was a parody of the entire slasher genre with the audacity of having a name as blunt as Scary Movie. But because it is a beat-for-beat broad comedy re-enactment of Scream, which had already Continue reading The Friedberg-Seltzer Massacre: How Two Men Single-Handedly Destroyed the Parody Genre