Unsane…hums along with an aggressively engaging energy that hooked me from the start.
Anyone who’s a fan of J-Horror and/or Sion Sono’s filmmaking style and nihilistic worldview should check it out.
What would happen if you were “reborn” as your ideal self? Ahead of its time, John Frankenheimer’s SECONDS (1966) gives a frightening answer to this question.
CREEP (2014) and CREEP 2 (2017) are deceptively simple yet highly disturbing films that demonstrate why independent horror deserves more attention and respect.
I wanted to curl up and die in this beautiful, horrible world.
Mike Flanagan’s BEFORE I WAKE has the feel of a modern fairytale along with horror and an undercurrent of sadness.
Del Toro gorges his artistic appetite from all possible angles, but makes the strongest, most human elements secondary to all the visual candy.
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.
The source of evil in this film is as interesting as its personification in demonic form.
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).