Author: Adam Symchuk
Many look to the upper echelons of society with a peculiar sense of awe, lives where money is no longer a concern is something that has drawn people into these untouchable figures since the very creation of the class system. Whether the fascination is to loathe or admire the fortunate few and their luxurious lives,
There are many different types of fears that can fester in the mind, everyone on some level knows what their greatest nightmare is – experiencing such emotions is an unavoidable part of the human condition. However, there are fears that are considered universal, ones that, at some point in time, will cross the minds of
The strength of the Japanese independent cinema has often rested on its ability to embrace absurdity and bring it together in a distinct yet cohesive manner. Consequently, the intuitive approach to micro-budgeted madness has launched such titles as Ryuhei Kitamura’s Versus into international acclaim. Comparative to the breakout action flick, director Yugo Sakamoto embraces the
“Every day we stray further from God’s light” may be a ‘meme-able’ saying, but it is one that is none-the-less true when we look at a mix of contempt and disinterest in institutionalized belief that is more prominent than ever. Yet, the interest in exploring faith through cinema seems ever present as religious horror is
When the first V/H/S film was initially released in 2012, its impact on the horror community was immediately felt, creating shocking scenarios presented in intimate detail through the found footage format. This led to two follow-up films, both varied in success, that further consolidated the prowess. After a short break after the ill-received V/H/S Viral,
Post-apocalyptic films after a pandemic certainly seem poised to hit their stride, with the horror genre acting as a cathartic release from modern day anxieties. Enter Glasshouse, the debut from South African filmmaker Kelsey Egan, which has the potential to become a modern classic with how it expertly explores a modern dread in a pandemic-conscious
“My name is Roxy, but the village girls call me toxic” After explaining how womankind found themselves alone in the land known as ‘After Blue’, we meet Roxy whose introduction of herself sets the tone of the film – a woman pushed to the outskirts of her own society, uniquely a single-sex one. What follows
“Wendy Alden, a young secretary in Portland lacking in self-confidence, becomes victim of a savage killer who has claimed the lives of a number of other women. Somehow, Wendy finds the resources of courage to fight back and escape” Steeped in a love of true crime, Shiver, aka Skin Collector, presents the familiar structure of
The found footage genre has long been a beloved niche among horror fans, staff here included. The format, while restrictive in budget, offers a creative outlet normally representative of a tight-knit crew with a clear vision. Granted, sometimes this can also cause the filmmakers to trip over their own inadequacies given full creative control but
Nothing beats a sensational death game, watching an otherwise ordinary group struggle with the horrific scenario of having to kill to stay alive – all kinds of dilemmas ensuing to typical morality. The formula acts as an ideal way to tap into the primal imperative of surviving, and provokes the worst in people as they