‘Love Bites’ and the 90s’ Attempts at Reimagining the Vampire Mythos
March 29th, 2022 • Maggie Boccella
Maggie Boccella explains why Malcolm Marmorstein’s ‘Love Bites’ is secretly a great companion piece to films like ‘Practical Magic.’
Pick Up the Phone, ‘Cell’s Calling
March 25th, 2022 • Christine Makepeace
Noteworthy John Cusack scholar Christine Makepeace mounts a passionate defense of Stephen King’s underrated techno-horror, ‘Cell.’
‘Hello Mary Lou: Prom Night II’ Empowers Women And Terrifies Men
March 21st, 2022 • Molly Henery
Molly Henery explains why Mary Lou is horror’s patron saint of sexuality and vengeance in ‘Hello Mary Lou: Prom Night II.’
Blood is the Drug: Addiction and Vampirism in the Spanish Cult Horror ‘Arrebato’
March 11th, 2022 • Kayleigh Donaldson
Kayleigh Donaldson explores the lurid history behind ‘Arrebato,’ the genre masterpiece from Spanish underground cinema icon Ivan Zulueta.
Vampires, Horror, and the Cinema of Caregivers
March 8th, 2022 • Jamie Alvey
Even the healthiest family dynamics can sometimes be emotionally and physically draining. Society insists that…
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.’