(Original post can be found at Bloody-Disgusting.com. This editorial contains spoilers for Tigers Are Not Afraid, It Chapter Two, The Nightingale, and The House That Jack Built.)
Issa Lopez’s poignant and revelatory Tigers Are Not Afraid has made such an impact on the horror genre because it differs from so many others films that are given to us: its narrative is told through perspectives that we never see enough of in mainstream cinema; its fantastical elements often add to the film’s sense of peril, as opposed to solely bringing the characters comfort; and, most interestingly, it contains a fearlessness to incorporate grim (but necessary) portrayals of child violence into its storytelling.
The original post can be found at NightmarishConjurings.com under “Reviews.”
The first-ever ASMR horror film, aptly titled TINGLE MONSTERS, is upon us— but this effective 10-minute short film from writer/director/star Alexandra Serio has much more on its mind than auditory relaxation triggers.
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.
The original post was published on July 24, 2019 under “Editorials” at Bloody-Disgusting.com.
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 Prodigy— Orphan is one of the more memorable psychological horror efforts we were given in 2009.
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
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.
The original post can be found under “Editorials” at Bloody-Disgusting.com.
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.