A Witchy Punk Ode To Self In ‘Hellbender’
February 25th, 2022 • Molly Henery
Molly Henery embraces femininity and witchcraft in the exceptional indie ‘Hellbender’ for her next Uterus Horror entry.
‘Hatchet for the Honeymoon’ Is Mario Bava’s Most Self-Conscious Horror
February 24th, 2022 • Wally Adams
Wally Adams returns to Certified Forgotten with a passionate defense of ‘Hatchet for the Honeymoon,’ Mario Bava’s self-parodic giallo.
‘The Plumber’ Is a Sour Clash of Class and Gender
February 22nd, 2022 • Ciara Moloney
Ciara Moloney explains why ‘The Plumber,’ Peter Weir’s 1979 made-for-television thriller, is a sour battle of class and gender.
‘Begotten’ Is a Ritual Captured on Film
February 21st, 2022 • Marc Paterson
Marc Paterson celebrates Edmund Elias Merhige’s ‘unwatchable’ classic ‘Begotten,’ a film that pushes the boundaries of modern horror cinema.
‘Dead & Beautiful’s Genre Bait-and-Switch Is Right On Trend
February 14th, 2022 • Leah Carlson-Downie
Leah Carlson-Downie explains why ‘Dead & Beautiful’s genre bait-and-switch is reminiscent of ‘Succession’ and ‘The White Lotus.’
A Psychoanalytic Reading of Craig Jacobson’s ‘Elliot’
February 1st, 2022 • John Patterson
John Patterson sits down with Craig Jacobson’s ‘Elliot’ for an essay on psychoanalytic film theory and VHS-fueled nightmares.