Halloweiner

Footer

Main Menu

NavBar

Become a subscriber today to get unlimited access

Thanks for reading!

Register to continue

Sign up for the Certified Forgotten mailing list to continue reading

Would You Like To Know More?

Certified Forgotten

Harmony M. Colangelo is here to do some kickass writing and bartending, and she’s not done a lot of bartending this year. You can see those worlds collide in the recipe book A Year of Queer Cocktails. She has been published in Bloody Disgusting, Certified Forgotten, We Are Horror, and The Bite.

Harmony Colangelo

Editorials

‘Bit’ Marks a New Era for Vampire and Trans Cinema

Rosie Knight

‘Brainscan’ and the Paranoia of Video Game Violence

Chris Luciantonio

Hell is Other Roommates: Proximity and Peril in ‘2LDK’

Glenn Dunks is a film and television critic from Melbourne, Australia. Over 15 years, his work has appeared across online, radio, print, podcasts and streaming. He has won two Australian Film Critics Association Awards for his coverage of documentary and Australian cinema. As well as covering Australian, LGBTQ and non-fiction film and TV for a variety of local publications, his work has appeared in The Guardian and Vanity Fair, and he is the chief documentary reviewer for The Film Experience. Glenn is a member of the prestigious FIPESCI organization and has sat on juries at the San Francisco, Stockholm and Leipzig film festivals. He has covered various international film festivals, including New York, Melbourne, Sydney, DOC NYC and many regional and speciality festivals. In addition to his work as a critic, Glenn has worked across marketing for internationally-renowned events including the Asia Pacific Screen Awards, and in 2017 he authored Cannes Film Festival: 70 Years for Wilkinson Publishing.

Glenn Dunks

Unreal Screens: ‘GhostWatch’ and ‘WNUF Halloween Special’

Patrick Brennan

Drugs, ‘Blue Sunshine,’ and the Failure of the Hippie Generation

Gem Seddon is a freelance writer with an information science background. Over the last ten years, her bylines have appeared at Total Film, GamesRadar+, TechRadar, Inverse, Mental Floss, Certified Forgotten, Dread Central, WhatCulture, Filmjacker, and more.

Gem Seddon

Gaslighting the Final Girl in ‘When a Stranger Calls Back’

James Bojaciuk

Josh Criss’s ‘Leaving D.C.’ Goes Beyond the Found Footage Mold

Molly Henery is a film critic, entertainment writer, and author of both nonfiction and fiction with a Master&#8217;s degree in professional creative writing. Molly began writing horror film reviews for her own website, The Blogging Banshee, before eventually branching out and writing for other outlets including Fangoria, Dread Central, Nightmarish Conjurings, and more. She is most well-known for her “Uterus Horror” column on Certified Forgotten which examines a different film each month in a subgenre of horror Molly named and defined. Molly has made a name for herself as a horror genre expert which has allowed her to be a guest on numerous podcasts, is a cast member of Mental Health and Horror: A Documentary, and co-authored the upcoming book, Queer Horror: A Film Guide. Keep up on what Molly Henery is watching and writing about on her social media.

Molly Henery

Uterus Horror

Joachim Trier’s ‘Thelma’ Serves Up a Supernatural Coming Out Story

Jessica Scott is a Tomatometer-approved film critic and culture writer who focuses primarily on feminist issues, mental health representation, and queer issues in the horror genre. She has bylines online and in print at publications including /Film, Daily Grindhouse, Dread Central, Inverse, Certified Forgotten, Ghouls Magazine, Grim, and Nightmarish Conjurings. She is a content editor and staff writer at Film Cred.

Editorials

‘Bit’ Marks a New Era for Vampire and Trans Cinema

‘Brainscan’ and the Paranoia of Video Game Violence

Hell is Other Roommates: Proximity and Peril in ‘2LDK’

Unreal Screens: ‘GhostWatch’ and ‘WNUF Halloween Special’

Drugs, ‘Blue Sunshine,’ and the Failure of the Hippie Generation

Gaslighting the Final Girl in ‘When a Stranger Calls Back’

Josh Criss’s ‘Leaving D.C.’ Goes Beyond the Found Footage Mold

Joachim Trier’s ‘Thelma’ Serves Up a Supernatural Coming Out Story

Ted Nicolaou’s ‘TerrorVision’ Pulls No Punches on 1980s America

The Public’s Perception of the Penis in Horror

Brian De Palma’s ‘Carrie’ Celebrates Our Teenage Monsters

Queer Horror in ‘Knife + Heart’ and ‘Stranger by the Lake’