on paper, Curse of Michael Myers is inarguably Halloween’s greatest Shatner-masked sequel since II: a lore-induced nightmare realm of voices in the dark itching at the back of the neck and aching to coat this lightning-blue-lit bout of momentum and retreads with an aggressive contrast of grisly, reddened violence, all while we’re strapped to an electric chair with eyes taped-open to witness this shoehorned into an awkward mid-90s funk of figuring out how to translate Myers/Carpenter into the decade while…
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The Holy Mountain 1973
what can only be described as an otherworldly, hypersur/real barrage of sacrilege, immorality, filth, scuzz, and repulsion, channeled into some of the most gorgeous filmmaking cinema has ever witnessed, The Holy Mountain is an experience unlike anything else, invasively immersive as a spectacle that cannot be turned away from, nor one that ever gives an opportunity to avert. Jodorowsky indulges an odyssey from differing walks and the conjured viscera within beauty and disgust, entwining them in a mesmerizing filmic harmony…
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The Psychic 1977
premonition and intuition cross in a gray area of deadly fate, preceding Fulci’s exercises in gore and grime with something much more controlled and confined to ominous mystery—Severin’s restoration amplifies the brooding darkness of uncertainty as blips of either memory, foresight, or illusion flash onto the screen in harsh zooms and boiled panics, finding horror in mundanities of localized object/place through and off the eyes of the impeccable Jennifer O’Neill. and with another excellent score from Frizzi to boot!
1970s / Favorite Horror / Giallo / Scores & OSTs / Directors League — Lucio Fulci
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Troll 1986
conflicting degree of fantasy against what might’ve been a better opportunity to be a Henenlotter apartment building schlock camp, jarringly more family-oriented than perhaps otherwise necessary, but it ultimately wins itself over with the whimsy (a great segment with Phil Fondacaro does the trick) and Beuchler’s incredible effects that keep it light and amusing.
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Candyman 1992
folklore stitched into concrete. a malevolently haunting shadow of gentrification cast over historical pain and its longing for rage and catharsis in the immortalized mythology of a damned past, painted white by real estate’s erasure and re/construction of eerie skylines that serve as another coat of cloak. phenomenal direction and photography + Tony Todd’s commanding vocal performance and staggering physical presence orchestrated by Glass’s beautiful, beautiful organ/piano score turn this into a hypnotic death’s dance with its own self, dwelling…
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Barbarian 2022
whew, what a mess. Barbarian strikes various interesting conversations more than capable of melding to horror in rewarding, visceral, and mentally/emotionally expressive ways: redlining, gentrification, moral vacuity, misogyny, and rotten byproducts of Reagan in suburbia into abandonment, and, it even assigns the presence of a hyper-violent figure as a ghastly thespian for the centerpiece of it all—yet, never once do any of these talking points mean anything, as genre tropes swallow the film whole within minutes, and regurgitate vignettes of forgettable…
