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Found 7 results

  1. This one should be in the conversation in the future for any lists made about horror, or spiritually significant horror. It is definitely about the mystery in one’s faith. Maybe a problem (?) with the film would be that it can’t wrap up the mystery — or, if it does, it certainly tends to sway toward the struggle of that mystery rather than any celebration of it. On Facebook, I wrote: A24 is really a special company. It is getting to a point where its horror roster is so good that it deserves its own category. Like, subcategories in horror are: New French Extremity, 70s slasher
  2. I saw this full-length stop motion animation last week, and it won’t leave my mind. I will probably track down the DVD when I can and watch it again, and I have a feeling it will be one of those films I watch quite a few times. As I understand it, much like Saint Maud, which I was talking about here a few days ago, the film for whatever reason sat for years without distribution. Maybe the big whigs at the top have grown tired of fighting for these artier films. Hard to say. “Artier” is the word to say, though. And while this thing screams “foreign art house production!” it also ble
  3. In this clever production, New Orleans is the exhilarating setting for three short horror tales. And I do mean short, each is about 15 minutes--which means this anthology series can be a quick break from coronavirus news. The first story, Grace, is shot mostly in black and white, creating a classic Twilight Zone appeal. A motherless little girl is verbally abused by a Jesus-spouting aunt. With paper and crayons, helped by a ballerina music box, the child takes her revenge—an abrupt change to murky color shows the hellish prison in which the nasty woman finds herself. In Pillowshop, a
  4. From the mind of half of Key and Peele--kind of a cross between The Twilight Zone, Key and Peele, and The Stepford Wives: IMDB link. As various sites are pointing out, the turn to horror isn't exactly unexpected [NSFW]:
  5. Obligatory note about having made an effort to find a better place to put this. Following Wes Craven's death last Wednesday, I decided to review A Nightmare on Elm Street for my weekly Crux column. It was more interesting to write about than I expected. (On a side note, I did find it amusing to be reviewing a bloody horror film — a genre for which I have no affinity — one week after finishing my first year at Crux with a more personal piece on limiting one's exposure to movie violence! But it's a noteworthy film, and Craven died when he died, and the news cycle is what it is, so…
  6. http://www.bfi.org.uk/news-opinion/news-bfi/lists/10-great-horror-films-21st-century The only two of these that I've seen are Session 9 and The Descent, but both of these are legit greats in my book, so I'm curious about the rest. Are there any fans of any of the rest of these here at A&F? Here's the list for the click-averse: Session 9 (2001) May (2002) The Descent (2005) Bug (2006) Inside (2007) Amer (2009) The House of the Devil (2009) The Loved Ones (2009) We Are What We Are (2010) Berberian Sound Studio (2012)
  7. I can't see any posts on the forum for Peter Strickland - either for this film or his debut, Katalin Varga. Has no-one seen his work? Apparently he made his first film with a bequest from his uncle - an interesting story which is detailed here: http://www.guardian....-film-interview Berberian Sound Studio is the story of a foley artist from England (played by Toby Jones) who is hired to work on an Italian giallo film, and is deeply traumatised by the experience. A rather effective conceit in the film is that the audience never sees the horror film he's working on, and can only go by his r
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