MIDSOMMAR Director’s Cut Adds (Even More) Depth to the characters REVIEW [Originally published for Bloody Disgusting]

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The original post can be found under “Reviews” at Bloody-Disgusting.com

“This is not releasable,” Ari Aster joked, as he introduced his “more complete” Director’s Cut of Midsommar in New York this past weekend. 

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ORPHAN wasn’t perfect, but I still love it 10 years later (Originally published for Bloody Disgusting)

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The original post was published on July 24, 2019 under “Editorials” at Bloody-Disgusting.com.

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Something is wrong with Esther, alright.

Released on this day 10 years ago, Jaume Collett-Serra’s unique twist on the bad seed subgenre, Orphan, pummeled its way into theaters after weeks of both anticipation and controversy, going on to earn $78 million at the box office over its relatively modest budget. Both influenced by, yet also a subversion of the tropes of previous films such as The Bad Seed, The Omen, and The Good Son— and undoubtedly affecting the coldness within this year’s The ProdigyOrphan is one of the more memorable psychological horror efforts we were given in 2009.

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Before we had MIDSOMMAR, we had The Wicker Man (1973)

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Christopher Lee in The Wicker Man

The original post can be found here.

For those of us who were lucky enough to catch Midsommar already, we noticed that Ari Aster’s sophomore psychedelic, folk horror film derives an incredible amount of influence from Robin Hardy’s 1973 masterpiece, THE WICKER MAN.  Everything from its (seemingly) warm, welcoming commune members, to its commentary on intrusive outsiders barging in on dissimilar cultures, to its fiery third act (which I won’t discuss here) Midsommar is indebted to this folk horror classic, and we thought we would swing around the maypole again and remind you why this film is so integral to the horror genre. Continue reading

MIDSOMMAR solidifies Ari Aster as a contemporary master of bizarro horror

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There is a handful of contemporary auteur filmmakers that are bringing something completely fresh to the horror genre, while still managing to derive influence from classics of the past– Jennifer Kent, Robert Eggers, Jordan Peele– to name a few.  But none have excited me quite to the degree of the eccentric, strange, provocative, ballsy filmmaking style that Hereditary (and now Midsommar) creator Ari Aster possesses.

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10 of the Most Unsettling Moments in Doll Horror (Originally published for Bloody-Disgusting.com)

The original post can be found under “Editorials” at Bloody-Disgusting.com.

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There is a very specific reason why I asked my mother to return the many porcelain dolls she bought for me when I was a kid: I watched too many horror movies. Porcelain dolls, baby dolls, life-size dolls, and especially ventriloquist dummies: I had seen far too many of those damn things open their eyes, come to life, and kill people in movies, and I wanted no parts of it.

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One Year of ‘Hereditary’: its Personal Impact on Me & its Cultural Impact on the Horror Genre (Originally published for Bloody-Disgusting.com)

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The original post can be found on Bloody-Disgusting.com under “Editorials.”

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Every now and again, a film comes along that feels like it was made just for you.  Whether its themes parallel your own personal struggles, its characters possess your own flaws, or it scrapes the bones of your own anxieties— if we are lucky, we all get at least one that comes along that hollows us out and changes us profoundly.  For me, during this week exactly one year ago, that film was Ari Aster’s Hereditary.

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In Fabric Review- Overlook Film Festival (originally published for NightmarishingConjurings.com)

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The original post can be found here.

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Kill, couture, kill!  You’ve got an evil-spirited dress wreaking havoc upon all those who encounter it, pitch-black humor about consumerism, demented kill scenes, Peter Strickland’s direction, and an A24 distribution.  IN FABRIC is the British horror-comedy that we didn’t know we needed.

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