Savageland: Found Footage Horror Gets Sickeningly Political

I’ve been on a bit of a found footage kick lately. I know some of you out there really can’t stand the genre, due either to its conventionally low production values or its tendency to induce motion sickness faster than not-quite-up-to-code teacup ride at a sketchy carnival, but I’m a huge sucker for any film made with a handheld camera and roughly six dollars. They … Continue reading Savageland: Found Footage Horror Gets Sickeningly Political

Nic Cage Soars as Nic Cage in Stellar Love Letter to Nic Cage ‘The Unbearable Weight of Massive Talent’

I feel like I’ve gone on the record more than enough times on this site in defense of Nicholas Cage. The movies of his that I’ve explicitly covered, Mandy, The Color Out of Space, and Pig, are all amazing films because they exist in what I like to call the “Post-Cage” era. That is, the age of cinema where we’ve all sort of collectively identified … Continue reading Nic Cage Soars as Nic Cage in Stellar Love Letter to Nic Cage ‘The Unbearable Weight of Massive Talent’

‘Everything, Everywhere, All at Once’ is Wonderful, Beautiful Madness

Coming off of last month’s X, I didn’t think it was possible for me to love A24 any more than I already did. Boy, was I wrong about that. If you have even a casual interest in film, odds are you’ve been hearing quite a bit of buzz about Dan Kwan and Daniel Scheinert’s (or simply Daniels, as the duo call themselves) new film Everything, … Continue reading ‘Everything, Everywhere, All at Once’ is Wonderful, Beautiful Madness

Sex and Violence as an Art Form in Ti West’s ‘X’

Ah, A24. You bring us so much wonderful, weird horror. From slow, understated supernatural dramas like It Comes at Night and Witch to visceral, chaotic nightmares like The Lighthouse and Midsommar, A24’s horror selection has touched on just about every subgenre that could comfortably fit within the boundaries of what some critics have (somewhat obnoxiously) dubbed ‘elevated horror.’ These are ‘respectable’ horror films, movies that … Continue reading Sex and Violence as an Art Form in Ti West’s ‘X’

‘Pig,’ and Why We Should All Worship the Ground Nic Cage Walks On

I will defend Nicholas Cage until my dying breath. Sure, he’s a little eccentric. And okay yes, maybe he doesn’t exactly always make the smartest career choices. There’s The Wicker Man, of course. And Ghost Rider. Knowing. The second Ghost Rider. You get the idea. Some real stinkers. And sadly, because of that, there seems to be a consensus within the public, pop-culture consciousness that … Continue reading ‘Pig,’ and Why We Should All Worship the Ground Nic Cage Walks On

‘Pumpkinhead’ and How Design Can Elevate a Horror Film from Good to Great

Pumkpkinhead is one of my absolute favorite Halloween-season movies. There’s just something about the bleak, spooky atmosphere and the classic, almost fairy-tale story that makes it a perfect movie for a chilly October night. But if you broke it down into its composite parts, there’s really not much on the surface that seems all that special about it. From a narrative perspective, it’s a fairly … Continue reading ‘Pumpkinhead’ and How Design Can Elevate a Horror Film from Good to Great

Leslie Vernon: The King of the Meta-Slasher

In our previous discussion of the 1983 cult-classic Sleepaway Camp, we talked about how slasher films can fall into a trap of being overly self-important and stagnantly serious. Slashers are inherently goofy, even when played straight, and to pretend otherwise often leads to disaster. Of course, you can have serious slasher flicks, but even the most noteworthy among them like Halloween and Black Christmas still … Continue reading Leslie Vernon: The King of the Meta-Slasher

Two-Tone Terror: Horror in Black-and-White

There’s a certain tendency with younger audiences, one which I myself can be guilty of as well from time to time, to naturally skew towards newer films rather than those that came out before they were born. If you give them a choice between a modern release and something from decades ago, especially if it’s in black-and-white, they will almost certainly choose the contemporary option. … Continue reading Two-Tone Terror: Horror in Black-and-White

Scares from Space: The Best of Extraterrestrial Horror

Most horror is Earthbound. The terror on our screens is based on monsters from our own world, or at the very least, worlds that are connected to ours. Creatures emerge from the woods or the sea to hunt us for dinner. Murderers and psychopaths escape from asylums or wander out of abandoned campgrounds to stalk us from the shadows. Vengeful spirits and malevolent demons arise … Continue reading Scares from Space: The Best of Extraterrestrial Horror

‘Re-Animator:’ Lovecraftian Horror in it’s Most Delicious, Digestible Form

I hate H.P. Lovecraft. Sure, I love the meme-ry of his work in pop culture, all the references to Cthulu, Elder Gods, and Old Ones, all that fun stuff. I know the Shoggoths and the city of R’lyeh, and I’m pretty well-versed in all the horrors of Dunwich and the madness in the mountains. But man, his writing is just… no fun. At all. Lovecraft … Continue reading ‘Re-Animator:’ Lovecraftian Horror in it’s Most Delicious, Digestible Form