January 17

The Ill-Advised Methods of MAYHEM (2017)

The script and direction lean so heavily on wanting to appease a built-in audience that it never tries very hard, despite the exasperating visuals.

Still from INSIDIOUS: THE LAST KEY (2018) January 10

INSIDIOUS: THE LAST KEY (2018): The Last Flight of the Insidious Express

The source of evil in this film is as interesting as its personification in demonic form.

Matt Dillon in THE HOUSE THAT JACK BUILT (2018) January 08

Most Anticipated Horror Films of 2018: “The House that Jack Built” (dir. Lars von Trier)

The first in a series of “coming attractions” in 2018, this post previews Lars von Trier’s next feature film, THE HOUSE THAT JACK BUILT.

The Bride in Black from the INSIDIOUS series January 05

An “Insidious” Retrospective: Thoughts Before Seeing INSIDIOUS: THE LAST KEY (2018)

The fourth installment of the “Insidious” series opened in US theaters today. For Loud Green Bird, it’s an opportunity to take a look back at the first three movies before seeing the fourth one.

December 28

Throwback Thursday: CARNIVAL OF SOULS (1962)

Shot in black-and-white for the drive-in and grindhouse circuit, this surrealistic, low-budget, independently produced horror movie became a cult classic decades later through repeated late-night showings on television. Its director, Herk Harvey, an experienced and award-winning industrial filmmaker, came up with the basic concept for the story while driving past an abandoned lakeside pavilion in Utah — the one that figures prominently in the film — on a business trip. Imagining the danse macabre at the film’s close, he convinced co-worker John Clifford to write a screenplay based on it. The result was “Carnival of Souls” (1962), Harvey’s first and only completed narrative fiction feature. Although consigned to relative obscurity for many years, this movie is now recognized as a genre antecedent and a stylistic precursor for well-known, unconventional films like George A. Romero’s “Night of the Living Dead” (1968) and David Lynch’s “Eraserhead” (1977).

December 25

“M.F.A.” (2017): A Timely Revenge Saga

Not unlike I Spit on Your Grave and Ms. 45, M.F.A. contains scattered kernels of revelation.

Still from THE THETA GIRL December 24

THE THETA GIRL: Psychedelic Grindhouse

Chris Bickel’s indie film THE THETA GIRL is splatter gore with intelligence and a conscience.

Theatrical poster for THE BABYSITTER (2017) December 20

THE BABYSITTER (2017): Postmodern Popcorn Horror Comedy

On one level, this “Netflix original” flick seems like that proverbial “film we’ve seen before” — several times, in fact. It’s a coming-of-age-through-trial-by-fire story that’s fittingly described by cliches. On another level, but related to this one, it’s a semi-clever horror comedy. How much you’ll enjoy it depends on at what level you receive it.

December 15

Christopher Alan Broadstone’s “A Catch in Time: Chapter One”

A Catch in Time: Chapter One is an intriguing teaser for a work of potential greatness.

Clip from AMITYVILLE: THE AWAKENING (2017) November 22

AMITYVILLE: THE AWAKENING (2017): Better as a Stand-Alone than a Sequel?

AMITYVILLE: THE AWAKENING falls into the category of films that really didn’t need to be a sequel. Certain movies seem as if they would have been better received if released on their own.