Talk to Me
SimilarA Nightmare on Elm Street (1984), Alien (1979), Aliens (1986), Carrie (1976), Ghost Rider (2007), Mulholland Drive (2001), Natural Born Killers (1994), On Her Majesty's Secret Service (1969), The Exorcism of Emily Rose (2005), The Rage: Carrie 2 (1999), The Shining (1980), The Thing (1982),
Watch afterBarbie (2023) Blue Beetle (2023), Fast X (2023), Five Nights at Freddy's (2023), Meg 2: The Trench (2023), Mission: Impossible - Dead Reckoning Part One (2023),
Oppenheimer (2023) Saw X (2023), The Equalizer 3 (2023), The Nun II (2023),
Things have been very bad for much of the world for a very long time, and they won’t improve any time soon. I don’t mean to start things off on a bummer note, but to point out that from such dire circumstances comes one benefit: the horror movie renaissance that started in the late 2010s only seems to be getting better. Just this year we’ve gotten the low-fi nightmares Skinamarink and The Outwaters, horror comedy with M3GAN and Cocaine Bear, another mostly solid entry in the Scream franchise, too many indie horror films to list here (Bad Girl Boogey and Brooklyn 45 are but a couple), and the roaring return of the Evil Dead series. Even if there weren’t another release for the rest of the year, it’d still be a great year for horror. Continue Reading →
Chilling Adventures of Sabrina
SimilarItaewon Class, The Summer I Turned Pretty,
With its magic, monsters, and ridiculously attractive cast, Chilling Adventures of Sabrina makes no attempt at relatability. However, while its fourth and final season is filled with situations that no person will ever find themselves in, its premise of a world being assaulted with unimaginable terrors before finally succumbing to a soulless void is a #2020mood. Continue Reading →
Downhill
Force Majeure wasn’t one to spell itself out. It didn’t have a traditionally satisfying conclusion. Its morality was ambiguous at best. Hell, its most intimate moments approached its characters like an anthropologist looking at a family as a tribe. But while that informed the worldview of Ruben Östlund’s film, it also provided much of its style. Several scenes watched people from afar, the camera peeking through rooms only to see a fraction of the subjects in something close to a profile view. Continue Reading →