I wanted to curl up and die in this beautiful, horrible world.
It is no mistake that a great deal of the horror genre revolves around the victimization, rebellion and eventual liberation of women.
The Blackcoat’s Daughter completes an unholy trinity of horror classics that are as viscerally punishing as they are challenging in their boundary-pushing intelligence.
We get some ghost-vomit, sure, but it’s contextual ghost-vomit.
The Monster never goes far enough in its themes and character arcs to land with any real impact.
To those of us jaded toward this type of thing, it becomes more about marking off boxes on our mental checklist of cliches rather than experiencing any real fear.
If you look beneath the relentless, miraculous onslaught of avant-garde-cranked -to-11 style, the plot of Hausu makes sense. Kind of. I think.
THE WITCH is a film about impression. There are scenes where you aren’t sure what you are watching, or what they mean. It is heavy with symbolic images. The full effect isn’t felt until the film is over and you begin putting everything together. It’s disturbing and stays with you. Like all folk tales, it is meant to be reexperienced, each time piecing out something different.
GOODNIGHT MOMMY (“Ich seh ich seh,” 2014) is an Austrian paranormal mystery thriller that uses the psychology of twins to fuel the slow burn of its rising tension.
Another Heaven and Suicide Club both focus on late 1990s Tokyo detectives. One detective is young and single. The other is middle-aged and has a wife and kids. Cases involving suspicious deaths that turn out to be far from run-of-the-mill confront both of them. Both soon realize that there’s more going on than meets the eye. At first, none of their colleagues will believe them. How will they deal with these cases?