Most zombie films follow the same formula, with the main difference being whether they have fast zombies or slow ones. Colm McCarthy’s THE GIRL WITH ALL THE GIFTS, based on Mike Carey’s novel and screenplay, diverts from the formula.
The monstrosity of America in early 1970s? “It’s Alive” in Larry Cohen’s classic 1974 exploitation film!
The original may not be the best, but it remains the most cinematic of the series.
Even with expectations properly tempered to the low expectations of the January dumping ground, Blood Wars still comes off as an immense disappointment.
Rather than bore you with my personal choices, I’d rather take a look at what horror fans liked in the past year.
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.
(Thanks to Benjamin Gibson – @CoastalRoadNine on Twitter – for reminding me about this great film, and giving me an excuse to re-watch it.) There are days… Read more “Cults in Horror Movies: End of the Line (2007)”
In the opening post of this series, Ti West’s The Sacrament served as an example of a movie that depicts a textbook “dangerous cult.” But such sinister sects don’t have to be as large as Father’s (or as diverse) to induce a reaction of horror in audiences. In other recent and effective horror films, the cultic groups have been as small as the nuclear family.
If “Darling” (2015) is any indication, there are exciting times ahead for women in film as well as for fans of independently-produced horror movies.
If you watched only half of Red White & Blue (2010), you would think it was a more coherent and serious version of Richard Linklater’s Slacker (1991 – see my review and its follow-up article). If you watched the entire film, you would see that the dramatic storyline builds to a violent finale that marks it as a contender in the extreme horror subgenre.