• The Wailing

    The Wailing


    Opening like one kind of story and ending as something a bit different, 곡성 (The Wailing) is a big, sprawling experience. I have the feeling that this film (and by extension, director Na Hong-jin) wants to do so much and there’s an infectious energy to its ever-changing tone and focus. Despite a lengthy runtime, the pace is consistently high and the tone shifts from being intensely scary to a bit wacky but it’s all held together by a central mystery.…

  • The Cat o' Nine Tails

    The Cat o' Nine Tails


    You could accuse Il gatto a nove code (The Cat O’Nine Tails), this early feature by Dario Argento, for being less expressive than many of his later films. Personally, I found the more toned-down stylistics to be a pleasant change. I like the groovy, colorful and wacky style of some of Argento’s more transgressive giallos, but I often find his visuals to come at the cost of storytelling. In this second feature however, the more careful stylistic expression is a…

  • The Addams Family

    The Addams Family


    I’ve always had a hard time with the fish-out-of-water-premise in comedies, but I do have to admit having a certain fondness for the Addams family and their wholesome spookiness. So the idea of the Addams’ horror-personalities meeting modern suburbia is kind of fun, but not enough for a whole film. So, so much of the script to The Addams Family is just based on the fact that they’re creepy, cooky, absolutely murderous and spooky so as we see that clash…

  • Angst



    No one could accuse Angst of taking the easy road. Essentially portraying the inner thoughts of a sadistic, murderous sociopath, the film is a monotonous display of violence filled with constant inner monologues about misogynistic and misanthropic ideas. Pretty soon, it’s easy to question the point of this film, especially since we’ve seen quite a few films with similar ideas. But I’ll be damned if there’s any as… Raw as Angst.

    There is absolutely nothing cool or slick to what’s…

  • The Innocents

    The Innocents


    At least to me, the idea of gothic horror brings about a sense of gloom and creeping darkness, but The Innocents establishes itself as somewhat of a warm picture. Deborah Kerr, so immediately innocent and tender, creates a relationship to the children that is so pure that it borders on being schmaltzy. Yet as so much else here, it’s ultimately just sincere, elevated by the period-appropriate acting engulfing the film in this jolly atmosphere.

    This is all very fitting in…

  • From Hell

    From Hell


    Even with a very limited interest in the true crime-genre, I can’t help but feel fascinated by the mythos of Jack the Ripper. Maybe it’s just my interest in history helping? Either way, From Hell makes it all very inviting with its mood-setting; where spooky streets and gorgeous dressing coincide to create a believable setting. What brings a gripping sociopolitical angle to The Ripper’s killings is the fact that that most of the victims were sex-workers and the film spends…

  • Blood Red Sky

    Blood Red Sky


    I appreciate how much Blood Red Sky goes in for being “just” a regular airplane-thriller for quite a while. Sure, the premise is evident from the poster but it’s nice to see the film really lean into the hostage-situation and bring a genuinely surprising twist before the bloodsucking action hits. I love me a good plane-setting—despite or perhaps exactly due to the fact that I don’t want to fly anymore—and there’s a lot of bang for the bucks here. Ironically…

  • Sorry We Missed You

    Sorry We Missed You


    Any way you look at it, I’m immensely privileged. Not least because of the fact that I get to have a job that I love. I have a stable, solid paycheck, great working-hours and get to feel a sense of purpose as I meet wonderful people at work every day. It’s hard to find a more striking reminder of that, than in the much needed perspective depicted in Sorry We Missed You.

    The hellish world depicted in Ken Loach’s latest…

  • Re-Animator



    The story of Re-Animator may be a bit different compared to the more cosmic stories about bestial gods beyond the aeons of time that we usually attribute to H. P. Lovecraft. But this relatively more down-to-earth story feels like a fitting pairing with Stuart Gordon’s other 80s Lovecraft-feature, From Beyond as an exploration of the borderland beyond life and the consciousness of the human brain. Naturally, such inner unspeakable landscapes are impossible to truly capture and to Gordon’s credit, he’s…

  • Warlock



    A fantasy-horror-combo sounded like a fun idea to me. See, I’m not a big fan of the fantasy genre, but in Warlock we’re far removed from the tired tropes of kingdoms and far-away-heroes as the action is moved to present time (well, the 1980s). But how much horror is there to be found here? Well, not that much but my gripe with this film isn’t really the mixture of genres but rather that the tone is far too whimsical for…

  • Pumpkinhead II: Blood Wings

    Pumpkinhead II: Blood Wings


    I was pleased to see Andrew Robinson’s name pop up in the opening credits to Pumpkinhead II: Blood Wings. Not because he’s one of my favorite actors, but because he’s usually a reliable oddball in a lot of nice genre-pictures. Here, he’s playing it pretty safe as the protagonist, sort of working like this film’s version of Lance Henriksen from the first film. And that’s sort of the issue with this second Pumpkinhead-film; so much—from the speeding youths driving somebody…

  • The Mother of Tears

    The Mother of Tears


    Although it’s easy to take the piss out of La terza madre (Mother of Tears) as a late-era effort from a horror icon way past his glory, I’d like to position this against my general idea of Dario Argento’s filmography. I have some unseen features, but with 12 films under my belt at this point I think I can safely say… I don’t think he’s very good.

    Suspiria is a bonafide masterpiece and one of my all-time favorites, but I…