Leap of Faith is a fascinating fireside-style docu-chat that affords William Friedkin the space to freeform story-tell. It’s a particular challenge (if not entirely futile endeavor) to write about films that so vividly manifest through the singular aim of presenting the viewer with in-depth analysis…
The Mortuary Collection is a gothic, expressionistic, and winning riff on a number of horror influences. Ryan Spindell’s The Mortuary Collection is an absolute blast, a delightfully gory and darkly comic throwback to old horror anthology films. While stuff like the VHS and ABCs of…
May the Devil Take You Too is a Raimi-esque bloodbath, gore-fest, and goop-show that understands how to set up and execute its thrillingly gnarly set pieces. Timo Tjahjanto has charted an interesting career path, alternating between insanely violent, bone-crunching kung-fu movies and aggressively visceral horror…
Spiral is content lean into cheap scare tactics at the expense of the more novel, potent direction is could have taken. New horror thriller Spiral clearly wants to be the LGBTQ-facing version of Get Out, and that palpable aspiration informs the entire film. In…
La Llorona understands how to the tick the genre boxes but forgets to muster much in the way of actual horror. The horror genre has long been a fertile breeding ground for all sorts of simmering undercurrents, giving creators ample room to engage with symbolism,…
Yummy is exclusively the domain of 12-year-old boys, and a hard pass for everyone else. It’s hard to imagine anyone clamoring for more zombie content these days, not after the past decade-plus of The Walking Dead, it’s various spinoffs, and abundance of imitators. The new…
Notionally, Blood Quantum works. Conceived in the same think tank as Inglorious Basterds, Jeff Barnaby’s latest fuses zombic epidemia with issues of indigeneity, using both the anti-immigration fervor of the present and the colonialist aggression of the past as fodder for role reversal fantasy.…
Alice Lowe’s character in Ben Wheatley’s Sightseers was named Tina; in her own directorial debut, Prevenge, she plays Ruth. Really, though, the different names don’t matter: both characters are extensions of each other in the ways they actualize their misanthropic worldview through bloody murder. But…
