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.
Going Clear With ‘The Other Lamb’
January 31st, 2022 • Molly Henery
Molly Henery turns her critical lens to cult cinema and adds Malgorzata Szumowska’s ‘The Other Lamb’ to the Uterus Horror canon.
Looking for Truth in the Violent Films of Takashi Miike
January 30th, 2022 • Steve Erickson
Steve Erickson explores the unwanted truths of Takashi Miike’s ‘As the Gods Will’ and ‘Lesson of the Evil.’
‘Anonymous Animals’ and the Making of a Monster
January 26th, 2022 • Emily Naser-Hall
Emily Naser-Hall explains how Baptiste Rouveure’s ‘Anonymous Animals’ blends ecological horror with anti-colonialist storytelling.
Revisiting ‘The Village’ in the Era of Active Shooter Drills
January 12th, 2022 • Sezín Devi (Koehler)
Sezin Koehler revisit M. Night Shyamalan’s ‘The Village’ and finds a prescient warning against the performative safeties of society.
Jesus, Dracula, and Bob: The Fascinating Birth of ‘Dracula 2000’
January 10th, 2022 • Kayleigh Donaldson
Kayleigh Donaldson explores ‘Dracula 2000,’ Dimension Films’s ambitious, religious retelling of the Dracula mythos.
Why ‘Deadly Games’ Is the Horror Fan’s ‘Home Alone’
December 31st, 2021 • Katie Liggera
Katie Liggera carves out space in the holiday horror canon for Rene Manzor’s ‘Deadly Games,’ aka ‘Dial Code Santa Claus.’
‘Silent Night’ Brings Us the Best Kind of Bad Santa
December 31st, 2021 • Paul Doro
In this Certified Forgotten stocking stuffer, Paul Doro explains why Steven C. Miller’s ‘Silent Night’ (2012) is a Christmas horror classic.
Embracing the Pop Nihilism of ‘Anna and the Apocalypse’
December 23rd, 2021 • Jenn Adams
Jenn Adams rings in the holidays with an exploration of how the music in ‘Anna and the Apocalypse’ achieves pop nihilism perfection.
‘Hosts’ and the Subversion of the Family Christmas
December 22nd, 2021 • Brian Keiper
Brian Keiper explains why Adam Leader and Richard Oakes’s ‘Hosts’ (2020) is a lean, mean piece of holiday horror.