ARTICLES

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

‘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

‘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

‘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 and Beautiful

‘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.’

Elliot Movie

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.