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"Can I be in the monster club now, guys?"
The most frustratingly relatable character in The Monster Squad is Phoebe, despite the fact she is knowledgeable and interested in monsters she isn't taken seriously until she brings a literal fucking MONSTER to the clubhouse and even then, they're constantly dismissing her input or talking over her and in the end she saves the entire god damn town and her brother gets the last line & all the glory.
The Christopher Landon brand of horror continues to be an entertaining one. He takes the cosmic horror comedy we love from the Happy Death Day series and brings it to the body swap genre. It’s filled with stupidity and cliches, but wisely understands what kind of film it is. Truly the blend of Friday the 13th and Freaky Friday.
There are some GNARLY kills in this film that harken back to some of the graphic and imposing moments of Vince…
Indonesian horror is fucking dope and they've proved it with impetigore.
The movies is about a girl who visits her parents home to sell it that is located in a village after their demise, but the village is cursed as all the new born babies are born without skin and in order to uplift that curse the villagers have to sacrifice this girl whose family was the reason that started this curse in the first place.
The narrative of this…
La Llorona is horror with a social conscience, like a lot of the best horror. After all, horror is a form of morality tale. What La Llorona does is recontextualise Hispanic American folklore as real life evil, specifically as a part of Guatemala's historical turmoil. Guatemala went through a lot of leaders, and war, and death. The film presents a dictator on trial for his crimes, creating a close resemblance to real history. How can a country deal…
The capitalist idea of a family is a unit of control and profit rather than a loving interconnected and related community designed to nourish and protect, so anything that takes the stereotypical role of the father and presents it as menacing is tapping into the sense that I imagine most of us have that the family unit as we know it is unnatural, violent, and oppressive. The potential violence under the surface of the stepfather, the explosion-in-waiting infuses every scene…
His House is the most terrifying film I’ve seen in a long time. Migration is a frightening feat, and that’s emphasized even more in a genre package. Peeling behind all the layers of trauma and survivors guilt, as the characters lose everything they have and are. Wunmi Mosaku is a star.
Alfred Hitchcock’s “refrigerator logic” certainly applies to writer/director Jacob Price’s horror feature—not because its plot doesn’t make sense when you think about it, but because its ostensible thematic ideas feel ill-conceived. There’s still plenty of satisfyingly creepy style in this story of Oliver (Marriage Story’s Azhy Robertson), a non-verbal boy with autism whose parents (Gillian Jacobs and John Gallagher Jr.) have a marriage that’s struggling, and who finds most of his connection through screens. On the other side of those…
Physical media, television signals, and analog allure morphed into sex and violence; a dissection of the screens (once VHS/Betamax and now hi-def) we inhabit and the lives we choose to wander within. If such a warning was ever precedent, we're long past the due date, and the big questions no longer linger but scream throughout the everyday. It's so ominous - a visceral mix of the gooey and the cerebral - that its status as a prophetic work, and…