In the end, mother! clings to convention in a story that’s couched in a guise of aesthetic edginess.
King builds a rich interior world for even the most peripheral characters, and creates perhaps his most fully realized, richly satisfying work ever.
Reading this novel always rekindles a connection with my own childhood naïveté (something I haven’t necessarily shaken).
In a low-down and perverse way, it’s still fun to watch.
As the title character in THE WOMAN (2011), Pollyanna McIntosh is a finger-chomping, scowling badass, and, in my opinion, one of the most interesting characters in modern horror.
When contrasted against last year’s similarly-themed (but far more original) Pet, Berlin Syndrome seems especially disappointing.
Distanced from Astron-6’s darkly funny aesthetic, it becomes just another genre flick defined by its borrowed parts.
It is no mistake that a great deal of the horror genre revolves around the victimization, rebellion and eventual liberation of women.
Felt is a captivating journey that forces the viewer to consider the perspective of a challenging character.
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.