A haunting, modern parable that begins in wtf territory and only journeys deeper into it from there. The worst behaviors of people of my gender are all shown through the lens of horror and rendered with the same face, but that doesn’t dampen the impact of what’s being said.
I was chiefly reminded of Darren Aronofsky’s Mother while watching this, in part because of the mounting wtfery but also because it’s a male director and writer telling a story that almost demands the perspective of a woman to reach its full potential. There’s definitely a conversation to be had about that.
My VHS cover pull-quote: “It’s also a bit Twilight Zone-esque, with some bits of cosmic horror seeping in. I was reminded of the TZ episode “The Invaders,” where Agnes Morehead is terrorized by little invaders that turn out to be men from Earth!”
There’s a bit of welcome schlocky Hammer Horror in this new entry into the Spider-Man adjacent genetic anti-hero Sony Playstation Universe (SAGASPU), but not nearly enough. It’s all so suitably hammy and self-serious, but more blood, more horror, and choosing Buffy the Vampire Slayer style prosthetics over CGI would have really sold it. Still, if you dig the weird, messy vibes of Venom and like Matt Smith stealing the spotlight from people, you will find something to enjoy.
My VHS cover pull-quote: “I still stand by my Venom 2 review where I said there is plenty of room for these janky 90s/early 00s style comic book movies amidst the cinematic universes, destined to be played on FX until the end of time. For the bored children. For the drunk bar patrons. For the tired vacationers. For the people, damn it.”
“What about you, Maxine? What’s your American dream?”
As clever and funny a slasher as it is creepifying, with visual and rhythmic odes to old horror to spare. What it says, though, about the genre and the links between the love of sex and the love of seeing fake people die horribly, is the real feature here. As are the motivations of the central killer, who absolutely commands the screen and demands to be recognized as iconic.
My VHS cover pull-quote: “‘An instant horror classic’ is the kind of saying that has lost all meaning, but back in 1979 it was still a fresh thing to say, so I’m going to say it like I’m from back then: an instant horror classic, man! Fleetwood Mac! Star Trek! Jimmy Carter!”
A dreamy, ghostly and claustrophobic horror story that explores abusive and overbearing (and royal) control the same way Larrain’s previous film Jackie explored grief. Also like Jackie, it features a singular performance from a central actor in Kristen Stewart who commands every single scene.
Above all, though, Spencer is a sympathetic portrait of Princess Diana that, while I’m sure takes liberties with some things and completely changes others, captures the feeling of an individual trapped in circumstances she couldn’t predict.
My VHS cover pull-quote: “I guess we should be careful about conspiracies, but the royal family had her killed. At least in the Spencer cinematic universe.”
A movie that dares people to call it a ‘wild ride’ and put it in quotes at the top of the poster or home video case, then just ratchets up the wild and weird and body horror until it becomes something wonderfully uncontrollable and keenly unknowable.
My VHS cover pull-quote: “It does have a lot in common with the Fast and Furious movies, though, and I won’t be elaborating.”
As meta and almost as intelligent as any of the other four entries in the franchise, with the twists of the plot knife and blood to match. The “requel” concept is clever and interesting enough to warrant its existence, as are the new cast of characters who rhyme in substantial, interesting and surprising ways with the old.
Also, the most important aspect of any Scream movie isn’t meta commentary or effective scares, it’s Ghostface getting the shit kicked out of them and thrown down stairs or hit with candle sticks a bunch, which they still nail here.
My VHS cover pull-quote: “There’s a lot of Scream 3 hate popping up again, and I just want to use this space to defend it as not only a curious full shift for the franchise into horror comedy but also an early (if soft) modern commentary on predatory Hollywood, which is rich considering the Weinstein connection to the franchise, but still interesting.”
Nostalgia is a razor thin veneer over the seedy historical horror show of an era in Edgar Wright’s inventive and slick foray into the genre. The good often rises to the top of the collective memories of an era like the 60s, but it’s critical to remind ourselves that it was just as wonderful and terrible in equal measure as today. Last Night in Soho removes the rose-colored glasses from its central character with a savage, dreamy haunting from a bygone time and it’s groovy.
My VHS cover pull-quote: “You can always say ‘the music was good, though’ about any era, but, well, the music was good in the 60s so the music is also good in this movie.”
A Halloween movie that is exactly what its title suggests. Michael Myers kills and kills and kills like the mythic being this trilogy is pushing him to become. The whimsy of the 2018 movie is still there, but it’s slightly diminished by the growing brutality of The Shape’s predation and a secondary story about what a bummer mob justice usually turns out to be. It’s all set to a killer score by Mr. Johnny Carpenter himself, which is as much a draw for me as all that slasher business.
My VHS cover pull-quote: “It’s kind of the Infinity War of the Halloween franchise. Or the Kingdom Hearts III because there is a whole philosophical two-person theater piece going on throughout the movie, with two characters interrogating Michael’s nature. Light and dark. Eraqus and Xehanort.
A dark, Icelandic folk tale largely about what we take from nature and what nature, in turn, may rightfully exact from us. I’m not sure if it’s based on an actual Icelandic tale, but it feels like it’s a story that has been passed down through generations of hardy folk that worked the land and existed, at times, in a perpetual daylight or perpetual night.
My VHS cover pull-quote: “The lamb child is super adorable and there are extended scenes of sheep being sheep, a swol Icelandic cat, and a farm dog. Lots of animals being dope as fuck and it’s awesome. Like the rest of the movie, though, there is a trade-off here because some of these animals get killed and it weighs on my heart.”
A gruesome, bonkers throwback to (or parody of?) old giallo films and, like, early 2000s tv movies caught with the juicy cinematic eye of James Wan. Or we could just call it James Wan’s Evil Dead 2. Or both! Or everything. It’s everything. It’s my everything. It’s a part of me now.
The plethora of ridiculous ideas, ripped directly from the dreams I have while experiencing sleep paralysis, vary in tone, genre, and even film in which it seemingly has any right to exist in. It is truly a raging psychokinetic romp that didn’t let Hollywood take that away from it, which I cannot help but respect (worship?). I hated adored this thing.
My VHS cover pull-quote: “Is this camp? Schlock? Camp Schlock? A John Wick horror curiosity? Comedy of the year? An exercise in trolling from the director of The Conjuring? It is all those things and nothing less.”