When Despair Meets Hope: Framing “THE TEXAS CHAIN SAW MASSACRE” in 2020 By JULIEANN STIPIDIS Blumhouse’s Halloween (2018) and Nia DaCosta’s forthcoming Candyman (2021) are not only part of horror’s new direct-sequel-from-the-original mini-movement; they’re vehicles...
Salem Horror Fest ’20 Review: “THE WITCHES OF HOLLYWOOD” Casts An Empowering, Enlightening Spell By RACHEL REEVESDirected by Sophie PeyrardWichita Films Whether buried in subtext or lying clear as day on the surface, sociopolitical factors and sentiments are often...
Fantastic Fest ‘20 Review: “THE STYLIST” Is A Sharp Story With Even Sharper Performances By RACHEL REEVESStarring Brea Grant, Najarra Townsend and Sarah McGuireDirected by Jill GevargizianWritten by Jill Gevargizian, Eric Havens and Eric StolzeClaw Productions Back in...
Interview: Jorge Olguín On His 2020 Sitges Film Festival Pick, “THE HOUSE” By NIC LORETI Chilean filmmaker Jorge Olguín is one of the titans of Latin American horror. Through a decades-long career, the heavy metal-loving director has seen it all. He’s...
Long Live the New Flesh: “Videodrome” in the Modern Age By L.J. LEWIS Not too long ago, I had the very distinct pleasure of rewatching David Cronenberg’s VIDEODROME. I was working on a retrospective article at the time and, as such, giving it another...
