There have been many horror films about the consequences of raising or communicating with a dead child, but not many focused on the process of getting to that point. In that sense, A DARK SONG blazes a new trail in the genre, and it’s also an uncommonly absorbing and occasionally quite chilling experience.
After exploring very strange love in their second feature SPRING, Justin Benson and Aaron Moorhead literally return to the territory of their enigmatic debut movie RESOLUTION with their latest project. THE ENDLESS is a similarly elliptical, fascinating viewing experience that blurs the boundaries between horror, science fiction and psychodrama.
Rising horror director Mickey Keating has been exploring insanity for his last few films, and after the monochromatic psychodrama of DARLING and the desert dementia of CARNAGE PARK, he goes full-blown crazy with PSYCHOPATHS, abandoning conventional storytelling to plunge into the avant-garde.
Today’s theatrical/VOD release of THE BLACKCOAT’S DAUGHTER has been a long time coming, as it debuted at the Toronto Film Festival under the title FEBRUARY nearly two years ago. As it turns out, its emergence fully rewards one’s patience—just as the movie itself does, with its deliberate, chilly buildup to a genuinely frightening final act.
The pitch on the documentary 78/52 is that it’s an in-depth exploration of the shower scene in Alfred Hitchcock’s PSYCHO, arguably the most famous onscreen murder in film history. Yet while the horrible fate of Marion Crane (Janet Leigh) is certainly dissected in depth, 78/52 (named for the number of camera setups and shots employed to depict the killing) uses it as a springboard to examine PSYCHO in toto as a groundbreaking shocker and a movie that continues to impress and inspire today.
