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Podcast: Louis Peitzman on ‘Phantom of the Mall’
Freelance writer and podcast host Louis Peitzman joins Certified Forgotten to discuss Richard Friedman's 'Phantom of the Mall.'
Podcast: ‘Evil Dead Burn’ Gets Uncertified
On this episode of the podcast, Matthew Monagle and Matt Donato sit down to discuss Sebastien Vanicek's 'Evil Dead Burn.'
Our Five Most Anticipated Fantasia Features
Matthew Monagle lists his five most anticipated features at the 2026 Fantasia International Film Festival.
Podcast: Mike Mendez on ‘Reflections of Evil’
Filmmaker Mike Mendez ('Satanic Hispanics') joins Certified Forgotten to discuss Damon Packard's cult classic 'Reflections of Evil.'
‘Evil Dead Burn’ Review: A Masterclass in Kinetic Horror
With 'Evil Dead Burn,' filmmaker Sebastien Vanicek proves that the winning formula of 'Evil Dead Rise' was no fluke.
‘Kisapmata’ Is Unapologetically Filipino and Unmistakably Gothic
Vivi Estaris examines the national trauma behind 'Kisapmata,' Mike De Leon's groundbreaking work of Filipino horror.
‘Occult’ Draws a Creepy Line from Sadness and Madness to Spielberg and Kurosawa
Koji Shiraishi may be best known for 'Noroi: The Curse,' but his 2009 faux documentary 'Occult' is just as compelling.
‘Alien Raiders’ Deserves Better Than the Bargain Bin
Josh Bell explains why Ben Rock's 'Alien Raiders' deserves far better than the bargain bin treatment it received on release.
Come Get Lost in ‘Session 9’
Brad Anderson's cult classic 'Session 9' gave us an early peek at the power of liminal spaces in the horror genre.
‘Camp’ Review: Avalon Fast’s Horror Feature Explores the Other Side of Trauma
Writer-director Avalon Fast explores what happens when a broken soul heals wrong in their fantastical summer horror film 'Camp.'
‘Pitfall’ Review: Even a Bad Outdoors Slasher Still Has Its Moments
James Kondelik's 'Pitfall' is a bit too rough around the edges to hit the mark, but it still knows how to play the redneck hits.
‘Misper’ Review: Harry Sherriff’s Debut Is a Beautiful Ghost Story for the Living
Harry Sherriff's 'Misper' may only be horror-adjacent, but it deserves to be celebrated as a tender examination of what follows trauma.











