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Horror

Happy Valentines Day photo
Happy Valentines Day

These David Cronenberg Valentines transform body horror into bloody romance


Long live the new flesh, and our love
Feb 14
// Hubert Vigilla
It's Valentine's Day, which means you are obligated to do something special-ish because greeting card companies own you. If you are single, this means your parents will guilt you into having children because the biological im...
Fangoria lives... sort of photo
Fangoria lives... sort of

Fangoria issues official statement, says publication will continue in 2017


A vague and apologetic statement
Feb 13
// Hubert Vigilla
Just as our piece on Fangoria possibly folding went live, the publication released an official statement about its future. Brief, vague, and apologetic, Fangoria President and Owner Tom DeFeo said the following: I&rsquo...
Fangoria Magazine dead? photo
Fangoria Magazine dead?

Horror magazine Fangoria may be dead as a print publication, future murky


An official announcement coming soon
Feb 13
// Hubert Vigilla
In its heyday, Fangoria was the premiere horror genre publication. Started in 1979, Fangoria covered mainstream releases, cult gems, and held weekend-long fan conventions that celebrated all things horror. A lot of my love fo...
Netflixvania photo
Netflixvania

Netflix Castlevania: Producer Adi Shankar says 2 seasons in works, both written by Warren Ellis


Netflix-vania
Feb 09
// Hubert Vigilla
The animated Netflix Castlevania series was announced yesterday, although it was buried in a press release. Producer Adi Shankar, who teased the series back in 2015 on Facebook, took to social media again to share some small,...
Netflix Castlevania photo
It's on like Donkey...vania
Netflix is making a series based on Castlevania, which will debut later this year. The first season of the series has been written by comics scribe Warren Ellis (Transmetropolitan, Iron Man, Planetary). According to Poly...

World War Z 2 photo
World War Z 2

David Fincher may still direct Paramount's delayed World War Z sequel


The ball is in Paramount's court
Feb 08
// Hubert Vigilla
Paramount Pictures recently killed off the Friday the 13th reboot and delayed World War Z 2: The Zquel. As they figure out how to rework and retool World War Z 2 for a potential 2018 or 2019 release, there are rumors that Dav...
Paramount nixes movies photo
Paramount nixes movies

Paramount nixes Friday the 13th reboot and World War Z sequel from release calendar


Ka-ka-ka-ka... kill-kill-kill-kill...
Feb 07
// Hubert Vigilla
If you were looking forward to the Friday the 13th reboot and World War Z 2 (aka A World War Zequel), you're going to have to wait a bit longer. You may be waiting indefinitely. Paramount Pictures has removed both of these fi...
Life photo
Life

Newest trailer and Super Bowl spot for Life looks pretty great


I don't want, your life
Feb 05
// Nick Valdez
There haven't been enough sci-fi horror films lately, and this year's great because we're getting two! Along with Alien: Covenant (which will inevitably draw comparison to this) is Life, a film that's more likely going to be ...
Clive Barker contest photo
Clive Barker contest

Clive Barker and Shudder offering $300,000 to an aspiring horror filmmaker as part of contest


Barker will executive produce the film
Feb 02
// Hubert Vigilla
Clive Barker may never direct a horror movie again, but he wants to help young talent make their first movie. The author, artist, and filmmaker is participating in a contest with the horror streaming service Shudder and Adapt...
Apocalypse Now: The Game photo
Apocalypse Now: The Game

An Apocalypse Now video game is looking for funds on Kickstarter


I love the smell of crowdfunding
Jan 28
// Hubert Vigilla
Francis Ford Coppola's Apocalypse Now is a dark, maddening, sprawling masterpiece about the horrors of war. It's still one of the best movies about Vietnam and its impact on the American psyche, and it's often ranked among th...

Review: Resident Evil: The Final Chapter

Jan 27 // Nick Valdez
[embed]221227:43368:0[/embed] Resident Evil: The Final ChapterDirector: Paul W.S. AndersonRelease Date: January 27, 2017Rating: R Much like previous entries in this series (a technique unique to this and the Saw series, hilariously enough), Final Chapter begins immediately after the events of the previous film, 2012's Retribution. After a failed attack on the Umbrella Corporation in Washington D.C. -- causing the deaths of all but one of the remaining characters from the video game series -- leaves Alice (Milla Jovovich) alone and broken, she learns of a cure to the T-Virus locked within the corporation's base from the first film. But with only 48 hours until the last settlements of humanity are wiped out, Alice is forced to race against time and face villains from her past like Dr. Isaacs (Iain Glen) last seen in the third film, Extinction. Also Ali Larter shows up.  Final Chapter is an aggressively busy film. The camera is constantly in motion. Whether it's shaky cam during dialogue, quick cuts of the same fight scene from different angles, or zoom-ins to Jovovich's face, the camera is rarely still, if ever. Coupled with sound mixing making everything about ten times louder than it needs to be (making the numerous jump scares in the film's opening much more abrasive than they should be), and the film has a high barrier to entry to those outside of its fan base. Sure it may be ridiculous to assume a person would watch Final Chapter before any of the other films, but I could only assume those without background knowledge of the series would be completely lost. With only a brief primer outlining the series thus far at the opening, there's not much to latch onto since the story is too bare bones to stand out beyond its technical mayhem.  But while the film is a technical mess, and its story is spread too thin to work anywhere else, somehow Final Chapter's bits of awfulness coalesce into a workable package. It's the "so bad it's good" film conundrum the series has found itself in the past, and pockets of that occasionally pop up here. The film hits such a height of ridiculousness at certain points, I didn't really know how to react to it. While Final Chapter is indeed taking itself seriously, its punctuated by fun, action film choices. Triple barreled shotguns, rivers of fire, and even fan service like the return of the series famous laser grid. It may all be incredibly juvenile, but I still appreciate seeing Milla tear up the joint. This film reminded me how well the Resident Evil series has focused action films around a female lead, and how much better these films are when Jovovich is clearly enjoying her work.  As for everyone else involved, I couldn't say the same. While there are other actors in this film, I couldn't say there were any real characters. The Final Chapter has such a brisk pace, there's no room for development for other characters than Alice. The Alice-focused narrative works for Jovovich's performance, but lowers the film's stakes and tension. Characters fight and die, but there's little reason to care about any of it. The only performances worth noting beyond Jovovich are Ali Larter's and Iain Glen's because they've nailed down the strange seriousness they need to deliver their lines. And since I'll probably never get the chance to mention this again, I just want to declare how much I've missed Ali Larter. Seeing her in Final Chapter reminded me how much I loved seeing her on-screen. There may not be any more Resident Evil films in the works (presumably), but I hope she pops up somewhere. Same for Jovovich, too.  Your mileage will vary with Resident Evil: The Final Chapter. If you've never seen the Resident Evil films, don't bother. If you're slightly interested in it because the newest Resident Evil game piqued you curiousity, don't bother. If you've watched the other films but only slightly curious to see how the series ends, you're better off waiting a while until you can watch it a home with a bunch of drinking buddies.  But for those of you who absolutely love the Resident Evil films, and there are some of you out there, you won't get a better ending than this. Final Chapter is passionately, crazily built for you, and you won't get the same care anywhere else.  Sadly, however, this film was released to everyone. 
RE Review photo
At least it's the last one
The Resident Evil films have always been a special kind of terrible. While not great films in their own right, each film is part of a larger ambitious tale further spurned on by both fan and creator devotion. Each one might n...

Review: We Are the Flesh

Jan 12 // Hubert Vigilla
TRAILER IS NOT SAFE FOR WORK (NSFW) [embed]220963:43146:0[/embed] We Are the Flesh (Tenemos le carne)Director: Emiliano Rocha MinterRating: NRRelease Date: January 13, 2017 (limited)Country: Mexico  We Are the Flesh reminds me of early Clive Barker splatterpunk stories; one scene in thermal vision even recalls Barker's little-seen short film The Forbidden. There's also a hint of Shinya Tsukamoto's Tetsuo: The Iron Man, though it's shorn of the technological madness and kinetic stuff--this transgression is luridly organic. Maybe Tetsuo by way of Gaspar Noe, with occasional outbursts of hysterical excess straight out of Andrzej Zulawski (Possession). The film also has some moist, mucus-rich makeup effects that wouldn't be out of place in a Brian Yuzna movie (Society, From Beyond). This paragraph is either a warning or a recommendation--if you want blood, you got it. There's a man with a demonic smile (Noe Hernandez) who lives in an abandoned building. He gets high on homemade gasoline and gets off on solitude. A boy (Diego Gamaliel) and a girl (Maria Evoli), siblings, enter his building. They're desperately in search of food and shelter. The man lets them stay as long as they help him construct a claustrophobic landscape within the building. Think of something like a cave and a uterus complete with a pseudo birth canal; a psychoanalytic hellscape where the id can thrive. All the while, the man tries to coerce the boy and the girl to break social, sexual, and interpersonal taboos. Minter builds up dread through whispers and shouts as he mounts transgressions upon each other. There's incest, rape, murder, cannibalism, on-camera sex, and necrophilia, and even now I can't say what it all adds up to. We Are the Flesh may not add up to anything, to be honest. Even though Hernandez and Evoli give the film their all--Evoli in particular goes for psychotic broke--the movie may just be images and noise with the intent to shock. I think there's a political allegory about Mexico and poverty, that a lack of means reduces us to some base state of nature in which social mores no longer matter. But it's a bit of a guess. It might be a stretch. Sometimes extreme cinema is just extreme cinema, but I can't help but sense something more meaningful behind all of this given how repulsed yet affected I felt. When someone lets out a blood-curdling scream, there has to be a reason, right? Maybe? Or was it just the desire to scream? This struggle for meaning is probably an intentional provocation from Minter. When confronted with something shocking, I usually feel challenged to interpret it. Yet Minter evades overt meaning making. There seems to be 10 minutes missing from the final act of the 80-minute film. Several events take place off camera unexplained, and it leads to total narrative disorientation. We Are the Flesh was a feverish nightmare already, and then that skimpy dream logic breaks down completely. No order, not for this this movie. What Minter provides is a sustained sense of unease, however. That feeling remained with me even after a less than satisfying conclusion. Even if We Are the Flesh only prompts exasperation and disgust, it's such a strange trip into the abyss I want to send others down there into the dark who are willing. Minter, like or hate it, is a Mexican filmmaker to watch. I'm reminded of something Clive Barker said about movies once (paraphrased): I want to feel something, even if it's just disgust; better that than thinking, okay, let's go for a pizza. After We Are the Flesh, pizza was the last thing I wanted.
Review: We Are the Flesh photo
The ecstasy of pure id
Reviewing We Are the Flesh from writer/director Emiliano Rocha Minter is tricky. On the one hand, it's a deeply flawed film aimed at a limited audience. It's transgressive in the extreme, sexually explicit bordering on pornog...

Trailer: The Lure photo
Trailer: The Lure

Trailer: The Lure looks like the sexy cannibal mermaid musical the world needs (NSFW)


But is it the one Gotham deserves?
Jan 06
// Hubert Vigilla
I had no idea about The Lure until last night even though it played at Sundance last year. The Lure is now one of my most anticipated movies of 2017. The debut film from Agnieszka Smoczynska, The Lure is a horror/fantasy musi...
Rings Trailer photo
Rings Trailer

Newest trailer for Rings reminds you it exists


'Cause I got a really big team'
Jan 05
// Nick Valdez
Naturally when a film gets hit with numerous delays it's easy to assume the final product is subpar. Couple that with a bump from last October to February, and Rings already has a lot working against it. It's a sequel no one ...
Child's Play photo
Child's Play

There's a new Child's Play in the works for some reason


For Blu-ray and DVD
Jan 05
// Nick Valdez
For those not too in the know, the Child's Play series has been keeping a single story alive for 30 years now. For some reason I don't completely comprehend, Chucky has been a horror icon to many and a joke to more. But regar...
 photo

New IT reboot Pennywise sewer artwork is full of $#!+


Dec 28
// Rick Lash
Because Christmas is over, Entertainment Weekly debuted some exclusive new artwork from next year's IT reboot/remake, and boy is it special. The highly anticipated reboot will be the first original take on Stephen King's...

Review: The Autopsy of Jane Doe

Dec 25 // Nick Valdez
[embed]221155:43293:0[/embed] The Autopsy of Jane DoeDirector: André ØvredalRelease Date: December 21, 2016 (limited theaters and VOD) Rating: R The Autopsy of Jane Doe follows father and son pathologists, Tommy (Brian Cox) and Austin (Emile Hirsch) Tilden operating out of their family owned morgue. When the body of an unidentified young woman (Olwen Kelly) is found, the two must figure out the mysterious circumstances behind her death. But as the autopsy rolls on, strange things begin happening and the Tildens find themselves struggling to escape the mortuary with their lives. This simple premise is what makes Autopsy work as well as it does. It's a tightly focused feature never losing sight of its central mystery. I'm going to try my best not to divulge the film's mystery, but honestly, the film isn't even about the reveal. It's all in the build-up. The entire film is built around this idea of confinement, and that's reflected in the film's editing and set design.  From the opening, there's a keen sense of dread permeating throughout the film. The inspired choices like an aged mortuary building (enhanced by a lack of natural light thanks to Autopsy taking place late at night), to the casting of Jane Doe herself, help make the audience uncomfortable. Taking something as inherently disturbing as a medical procedure is made doubly so thanks to quick cuts to Jane's face every time one of the Tilden's makes an incision. Thanks to these close ups, the autopsy becomes more like a creepy surgery that permeates with dramatic irony as the audience becomes more suspicious of Jane than the characters. There's also a refreshing flow to how much of Jane's mystery is revealed at a time. By halfway through, you already know most of what is necessary to move the plot forward without going overboard. Unfortunately, since the film's effort is put into Jane Doe, the Tildens get less development as a result.  There are some hints of tension between Austin and his father, but that's more credited to Hirsch's and Cox's performances than to any character building. Due to the film's tight focus and short time, there isn't much room in the narrative for anything other than the mystery. Even as the Tildens fear for their lives, I found myself lacking the necessary wherewithal to care whether or not they actually survived. Because of this, the film lacks tension once Jane Doe's origins are revealed. Since so much effort is put into its buildup, there sadly isn't enough effort left over for the denouement. In fact, the finale even goes on for a bit longer than it should. There's a particular scene toward the end that would've made for a perfect finale, but seeing Autopsy go beyond it lessened my enjoyment overall. I guess it's more of a sense of disappointment given how well Autopsy had edited itself to that point. But on the other hand, I do appreciate the uniqueness of The Autopsy of Jane Doe. While there are some ideas I would've liked to see the film explore further (especially when it teases metaphysical horror, which is something lacking from most current offerings in the genre), and I would've appreciated a better grasp on character, the film sets out to tell a certain story and competently does it.  The Autopsy of Jane Doe is a focused, chilling thriller that you should check out before you start writing your end of the year lists. 
Jane Doe Review photo
Doe-n't miss this one
Every year I wind up missing a good deal of films as their advertising end up swallowed by the huge hype machines of bigger studio releases. But the true gems make themselves known somehow. Usually it's through word of mouth,...

Alien: Covenant photo
Uh...Merry Christmas?
If you can spare a few minutes away from your family today, you should check out the first Red Band trailer for Alien: Covenant. Ridley Scott's Prometheus wasn't received too well, so it looks like Scott wants to rectify that...

Brooklyn Horror Film Fest photo
Brooklyn Horror Film Fest

Submissions are now open for the second annual Brooklyn Horror Film Festival


Showcase your short or feature
Dec 08
// Hubert Vigilla
The inaugural Brooklyn Horror Film Festival (BHFF) was a good time, and screened a number of solid horror films around Williamsburg, Greenpoint, and Bushwick. This highlight for me was the Emiliano Rocha Minter's nasty a...
Phantasm Xmas ornament photo
Phantasm Xmas ornament

This Phantasm sphere Christmas ornament is not a dream... BOOOOOOY!


Deck the balls with Tall Man mayhem...
Dec 07
// Hubert Vigilla
Phantasm is one of the great influential cult horror movies. Released in 1979, the film unfolds like a strange teenage nerd dream--a little bit B-movie, a little bit Something Wicked This Way Comes. In some ways, 2016 was the...
Kodoku Meatball Machine photo
Kodoku Meatball Machine

The trailer for Kodoku: Meatball Machine is blood-soaked and absolutely bonkers (NSFW)


Content and title are a perfect match
Dec 06
// Hubert Vigilla
If GWAR in its classic form decided to remake Tetsuo: The Iron Man, it might look like Yoshihiro Nishimura's Kodoku: Meatball Machine. That is all I can really say. There are no words. Just feelings. Strange, strange feelings. Seriously, watch this f**king trailer, dudes. Note: There is a lot of blood and some (maybe fake?) nudity.
The Mummy featurette photo
The Mummy featurette

The Mummy reboot featurette has Tom Cruise getting bruised behind the scenes


FruityYummyMummy I got love in my tummy
Dec 06
// Hubert Vigilla
The first trailer for The Mummy reboot with Tom Cruise dropped the other night. It had Tom Cruise running, so you knew it was a Tom Cruise movie. Universal hopes to spin this out into a full-fledged movie universe--the Univer...

Trailer for The Mummy with Tom Cruise reveals a new world of gods and monsters

Dec 04 // Hubert Vigilla
Makes me wonder if Tom Cruise will make appearances in other Universal Monster Movie universe movies. (The UMMUM, as the cool kids call it. Cool kids meaning me, mostly.) Here's an official synopsis for The Mummy: Tom Cruise headlines a spectacular, all-new cinematic version of the legend that has fascinated cultures all over the world since the dawn of civilization: The Mummy. Thought safely entombed in a tomb deep beneath the unforgiving desert, an ancient princess (Sofia Boutella of Kingsman: The Secret Service and Star Trek Beyond) whose destiny was unjustly taken from her is awakened in our current day, bringing with her malevolence grown over millennia and terrors that defy human comprehension. From the sweeping sands of the Middle East through hidden labyrinths under modern-day London, The Mummy brings a surprising intensity and balance of wonder and thrills in an imaginative new take that ushers in a new world of gods and monsters. The Mummy hits theaters on June 9, 2017. Check out a poster for the film below.
The Mummy trailer photo
Run, Tom Cruise, run!
The Mummy reboot with Tom Cruise teased a trailer last week with a short preview and a movie poster. The trailer for the film just dropped, and it looks much darker than the kooky, happy-go-lucky Mummy movies with Brendan Fraser. Also, you get to see Tom Cruise running in this trailer, because of course you do. It's a Tom Cruise movie. Check out the trailer below.

Rampage adaptation photo
Rampage adaptation

Director of Rampage adapation starring Dwayne "The Rock" Johnson promises emotion, scares


Kaiju candy asses gonna freak out
Dec 02
// Hubert Vigilla
In case you forgot (why would you remember?), an adaptation of Rampage has been in the works for years. The film seems to have some actual legs on it now that Dwayne "The Rock" Johnson is attached to star with San Andreas dir...
Wes Anderson' The Witch photo
Wes Anderson' The Witch

Trailer remix video: What if Wes Anderson directed Robert Eggers' The Witch?


This parody trailer presupposes...
Dec 01
// Hubert Vigilla
Robert Eggers' The Witch (or The VVitch, as the cool kids write it) is one of my favorite movies of 2016. It's a bleak, despairing period film, and it slowly unnerved me through its accretion of dread. I still think abou...

Review: Evolution

Nov 23 // Hubert Vigilla
[embed]220389:42858:0[/embed] EvolutionDirector: Lucile HadzihalilovicRelease Date: November 25, 2016 (limited/VOD)Rating: NRCountry: France The world of Evolution is mysterious from the get go, which is due largely to the coastal locale where the film is set. We don't know what year it is, or quite where this place is either. It's all so otherworldly, the sort of setting for tales, allegories, and de Chirico paintings. There are white stucco buildings built near the water, and the sand is black leading to the turbulent shore. It's beautiful in how stark it is. In the distance, there's a medical facility that looks like it was abandoned years ago, but boys and their mothers walk back and forth for periodic examinations. There are only grown women and young boys on this island. There are no men, there are no girls, and the mothers have a sinister uniformity about them. At night, the mothers leave their homes carrying hand lanterns and congregate near the water. The boys are just boys but are in the dark about their caretakers. The boys are raised on a diet of mashed kelp and something like worms, one of those foods that while heated in a saucepan still looks cold when it's served. Evolution centers primarily on Nicolas (Max Brebant) and his mother (Julie-Marie Parmentier), and what Nicolas discovers about this town and where babies come from. We follow him into the night, down long corridors, to water in the dark, and in the process participate in the act of discovery, unwrapping the allegory along with Nicolas, sharing in his repulsion and curiosity. Roughly midway through Evolution, this dive into the unknown slows, maybe too much for what's revealed about the mothers and their boys. Yet even what's revealed is just enough to suggest larger possibilities and delve deeper into the thematic territory of the movie--sex, childbirth, asexuality, violation, flesh, reproduction, biological processes. I sensed in the film's lull that Hadzihalilovic was signalling a move away from an explicit exploration of the plot and the machinery of the world to a series of ruminative brushstrokes, each one a deliberate move to the film's finale, which is more conceptual than visceral. In the immediate aftermath of Evolution, I felt a little let down, expecting more of a resolution to what's introduced early on. Yet the movie has this strange, lingering quality thanks to its pervasive otherworldliness. I mentioned Lovecraft and Cronenbeg earlier, but Hadzihalilovic makes this movie her own, invested with unique hobbyhorses and a fascinating sensibility. It's rare to see a movie that sticks around in your mind after an initial sense of disappointment. The fact I'm still thinking about Evolution, and deeper now than in the hours after the first viewing, have made me reevaluate Hadzihalilovic's languid pace, which unfolds with the same speed as a dream verging on a nightmare but never quite arriving there. Cinematographer Manuel Dacosse does a magnificent job in rendering these images and giving them such a haunting quality that I can't get several of them out of my head. Evolution's grown on me, like a skin graft or like coral, or maybe it's grown in me, like the stuff of recurring bad dreams.
Review: Evolution photo
Lingering, haunting, and yet
There's so much going for Lucile Hadzihalilovic's Evolution, a film expertly lensed from the deliberate first shot: looking up to the sky from underwater. From beneath, the ripples and waves on the ocean surface produce undul...

Review: The Monster

Nov 21 // Alec Kubas-Meyer
[embed]221043:43200:0[/embed] The MonsterDirector: Bryan BertinoRelease Date: November 11, 2016Rating: R  Though there are a couple of others who make brief appearances, The Monster is effectively a film with only two characters: Kathy (Zoe Kazan) and her daughter, Lizzy (Ella Ballentine). Kazan is 33 but looks ten years younger, and I'm pretty sure her character is closer to the latter than the former. Kathy is a terrible mother, pretty much what everyone assumes a young twenty-something with an already eight-or-nine-year-old child (or whatever age she is; Ballentine is 15, but I think she's also playing someone younger) is like. You don't root for her, and you definitely feel Lizzy's exasperation more than her mother's, but both of them feel extremely real, and their reactions to an increasingly horrific series of events serve as the focal point for everything that happens. And what happens? Well, late at night, as Kathy drives Lizzy to be with her father, they hit a wolf that runs out into the street in the pouring rain. The car breaks down. They call for help, but they have to wait. The wolf disappears from the road. There's a monster. Most of the film takes place on that road, in that car. Everything that matters takes place between Kathy and Lizzy. Everyone else is just filler. Fortunately, both actors give genuinely spectacular performances, and I became immediately invested in their struggles, and I was invested through all of the horrors. I mean, it made me cry. Actually and truly. Movies in general don't make me cry, and horror movies in particular don't (at least, not from anything other than fear). And yet, much to my surprise, The Monster got to me. Kathy and Lizzy got to me. Everything from the two of them felt so real, so earnest and heartfelt, even in the midst of ridiculous events, they were grounded. They made everything work. If you've seen It Follows (you should), or even just its trailer, you may remember the shot of the naked old man standing on the roof looking down at the main characters. It's a cool shot, but it's a problematic one. It doesn't make any sense in the narrative itself. The creature wouldn't do that for any reason other than because the director said, "This is gonna look awesome." And he's right, but it pulls you out of what is generally a pretty cohesive movie with reasonably well-conceived rules. Everything in The Monster is like that image on the roof. You can never know what the monster is going to do, but you always know when it's going to do it: Right when the film needs it to. It comes at the apex of tension, right when you expect it. Maybe you just see it in the background of a shot. Maybe it pulls a character underneath a truck. Maybe it throws a severed arm onto the windshield of a car. It does whatever with no rhyme or reason, but it does it exactly when anyone who has ever seen a horror movie would expect it to. The monster itself looks pretty good, and I am a fan of big practical effects, but it also is just... there. I went back and forth with the person I saw the film with on whether the monster represents anything (or whether The Monster is trying to make a grander point), and both of those conversations ended with a resounding, "Uhh... no?" Certainly the monster just seems like a monster, something there to drive the plot. It doesn't connect to the struggle that the characters are going through in any meaningful way, and the lack of clear rules makes it hard to pinpoint any real purpose at all. And that lack of clear rules gets really problematic in the final act. Really, it just serves to get in the way of the drama. So, the monster is by far the weakest part of the film whose name it occupies, but it's a testament to just how good the dramatic relationship between Kathy and Lizzy is that it doesn't really matter. While the monster waits in the darkness, biding its time for no clear reason, we get to spend time with Kathy and Lizzy. That's an emotional rollercoaster, one that is often difficult to watch but impossible to look away from. There's a decent argument to be made that the relationship deserves a better movie than the one it's in, but that's a needlessly negative way to look at it. We should be glad that we got to see it at all. I know I am.
The Monster Review photo
More tears, less fears
As often as I can, I like to go into films relatively blind. In the case of The Monster, my Facebook feed had been full of friends talking about how stellar the leading performances were and how great it was that they had gon...

Beware the Slenderman photo
Beware the Slenderman

The trailer for Beware the Slenderman will creep you out and disturb you


When memes turn into folklore and murder
Nov 13
// Hubert Vigilla
The Slender Man stabbing in 2014 was disturbing to say the least. Two 12-year-old girls in Waukesha, Wisconsin stabbed another girl 19 times in order to appease the Slender Man, a fictional modern day bogeyman born on the int...
Ithaca Fantastik photo
Ithaca Fantastik

Ithaca Fantastik is this week (November 9-13)


Genre movies in upstate New York
Nov 07
// Hubert Vigilla
Ithaca Fantastik starts this Wednesday, November 9th up in Ithaca, New York. The film festival is a showcase of genre movies from all over the world. This year's festival is bookended by two major Korean release. On opening n...
Super Mario: Underworld photo
Super Mario: Underworld

Happy Halloween: Watch the horror short Super Mario: Underworld


Itsa terrifying hellscape!
Oct 31
// Hubert Vigilla
Happy Halloween, you ghouls. Hope your weekend was fun. Did you dress up? Did you go to a party? Did you lose some teeth? And, hey, did you wind up barefoot in a laundromat like last year? Yeah, I bet you did, you scamp! To g...

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