Editorials
‘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.
In ‘Cam,’ Everyone’s a Copy and Nobody Cares
Christine Makepeace explains why Daniel Goldhaber and Isa Mazzei’s 'Cam' is a prescient warning against a digital dystopia.
‘Killer Karaoke’ Seeks a Bloody Harmony Between the Goofy and the Sincere
In this edition of his Hopping Mad series, Rob Hunter sings his own love song to Siwakorn Charupongsa's 'Killer Karaoke.'
In ‘End of the Line,’ Faith is Anything But a Binary
Faith isn't everything in Maurice Devereaux's 'End of the Line,' which presents the rapture through a low-budget horror lens.
‘Bury Your Dead’ and Faith At The End of The World
Lívia Reim revisits Marco Dutra's 'Bury Your Dead' ('Enterre Seus Mortos'), a Brazilian feature about faith and the end of the world.
‘The Sacrament’ Is Tragedy Turned Found Footage
Christine Makepeace finds Ti West's 'The Sacrament' to be an uncomfortable marriage of fact and found footage fiction.
Turning a Savage Subgenre Silly with ‘The Eternal Evil of Asia’
In this edition of Hopping Mad, Rob Hunter explores 'The Eternal Evil of Asia,' a Cat III shocker that delivers more fun than cruelty.
We’re Already Living in the ‘Land of the Dead’
Christine Makepeace revisits George Romero's 'Land of the Dead' and explains why the end of the world is no reason to play dead.
‘The Cremator’ Is a Meditation on Extremist Indoctrination
Tori Potenza explains why Juraj Herz's 'The Cremator' remains, sadly, as relevant today as it was a half-century ago.
