Felt is a captivating journey that forces the viewer to consider the perspective of a challenging character.
“Post-horror” is apparently a ‘thing’ now. The thing is, it’s really nothing new.
In a way, the addicts of Toad Road are not unlike the religious types who seek redemption and release via unquestioning faith in an omniscient, all-powerful creator.
In a weird way, I wonder if Lowe was listening to Embryodead while conceiving the story of Prevenge.
When repetition is the name of the game – and your film isn’t Run Lola Run – it’s not an encouraging sign.
It obliviously flails for hipster-cult, Tim and Eric Awesome Show status throughout its 88-minute run time.
Diary of a Deadbeat presents VanBebber as a madman in the best and worst possible sense.
Like William Castle, Lewis recognized the value in finding different stories to serve as vessels for his gimmicks.
The function of the soundtrack in Mickey Keating’s RITUAL (2013) illustrates a “soft revolution” as it applies to horror filmmaking.
The label “extreme horror” means not only shocking content, a plausible story, and good acting. It also involves a contemporary feel that allows a horror film to bypass audiences’ disbelief and target their primitive fears. The Hills Have Eyes and its remake are good examples of how horror needs to challenge the moving targets of norms and boundaries to remain relevant and effective.