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Editorials
‘The Plumber’ Is a Sour Clash of Class and Gender
Ciara Moloney
February 22, 2022
Editorials
‘Begotten’ Is a Ritual Captured on Film
Marc Paterson
February 21, 2022
Editorials
‘Dead & Beautiful’s Genre Bait-and-Switch Is Right On Trend
Leah Carlson-Downie
February 14, 2022
Editorials
A Psychoanalytic Reading of Craig Jacobson’s ‘Elliot’
John Patterson
February 1, 2022
Uterus Horror
Going Clear With ‘The Other Lamb’
Molly Henery
January 31, 2022
Editorials
Looking for Truth in the Violent Films of Takashi Miike
Steve Erickson
January 30, 2022
Editorials
‘Anonymous Animals’ and the Making of a Monster
Emily Naser-Hall
January 26, 2022
Editorials
Revisiting ‘The Village’ in the Era of Active Shooter Drills
Sezín Devi (Koehler)
January 12, 2022
Editorials
Jesus, Dracula, and Bob: The Fascinating Birth of ‘Dracula 2000’
Kayleigh Donaldson
January 10, 2022
Editorials
Why ‘Deadly Games’ Is the Horror Fan’s ‘Home Alone’
Katie Liggera
December 31, 2021
Editorials
‘Silent Night’ Brings Us the Best Kind of Bad Santa
Paul Doro
December 31, 2021
Editorials
Embracing the Pop Nihilism of ‘Anna and the Apocalypse’
Jenn Adams
December 23, 2021
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