The Banshee
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
***As a disclaimer, there are mild spoilers in this review, but I have tried to keep them to a minimum.*** Paralyzed by fear from shocking visions, a woman’s torment worsens as she discovers her waking dreams are terrifying realities. A lot of the buzz around this movie involves its mash-up of many beloved horror genres,
When I saw the poster for Agnes, I was really hoping it was going to be a Nunspolitation film, because man, those need to make a comeback. Spoiler, it isn’t nunsploitation. Anges is a story about a nun who lives in a very secluded convent that starts having violent outbursts leading her sisters to believe
Horror comedy is such a subjective film genre. Hell, comedy in general is tough enough because what’s funny to me might be completely boring to you. So how do you tread into that territory with horror? I think the key factor here is the intention behind the movie. There are a ton of the “so
For as long as it has been a viable means for sharing media, the internet has been a fascination of the morbidly curious. Forums and sites set up on both the surface and deep web dedicated to the spread of gratuitous, real life videos of death, becoming common knowledge in our society and reflected in
“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
Shudder, as a platform for exclusive releases, has been an enjoyable and interesting experience. Being able to curate directly for fans of the genre has allowed an impressive range of movies to get much broader exposure than they may have while getting lost in the mix on a wider service such as Netflix or Hulu.
Writer/Director Pierce Berolzheimer made a show-stopping debut at this year’s Arrow Video FrightFest with the world premiere of his first feature: Crabs!. The film is a wonderfully crafted love letter to classic monster movies that exceed the trappings of other low-budget creature features with some excellent pacing and well-developed characters. You can read our full
“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
Eric LaRocca brings us a short but darkly sweet tale of epistolary horror. While it may not be spilling blood by the bucketful, his novella of sadomasochism gone wrong had my stomach-churning right to the very end. Readers are subjected to a psychological spiral that goes into irreversible darkness that had my eyes glued to