At the 88th annual Academy Awards, the best picture race was a toss-up between a grandiose technical extravaganza and a subtle character study, a situation that felt oddly familiar.
The first episode of Fuller House represents everything wrong with reboot culture, this new era in which Hollywood feels the need to resurrect dead franchises for seemingly no reason other than that the cast never found anything better to do.
When the inventive and frightening V/H/S was released in 2012, it breathed life into both the found footage and the anthology subgenres. The film was among the best of its kind, a collection of five loosely-connected spooky stories, and it had tremendous sequel potential. Most franchises die because the writers run out of ways to keep the…
The new horror anthology Southbound is weird, messy, and highly entertaining, living up to the legacy of the original V/H/S. I recorded some quick thoughts on the film directly after watching it. A full review will be posted soon!
The Witch does not feel like a movie that was made by a human being. It’s as if the film reel itself is the physical manifestation of evil and should be handed over to the proper authorities rather than screened in theaters.
When The Purge hit theaters in 2013, it became nothing short of a cultural phenomenon, inspiring countless parodies and online discussions about how one might survive a real-life Purge scenario. Sadly, it’s also a genuinely terrible film, but the fact that it made such an impact anyway speaks to the fascinating nature of the premise.
Anyone who grew up in the 1990s undoubtedly lost hours of sleep thanks to the Goosebumps franchise. R.L. Stine’s book series wasn’t first-rate literature, but it served as a kind of horror gateway drug, and for many of us, it was an early introduction to the joys of being scared.
The slasher genre desperately needs a makeover after the rise of self-awareness and irony has all but killed it.
BY BRENDAN MORROW 