A shot from the 2016 movie "Within"

Our homes are our castles. They’re where we can shed the trappings of the day – whether that refers to the metaphorical walls that keep others from getting too close or the pair of pants that keeps us from getting arrested. When we’re in our home, neither is required. As such, our homes are more than our safe spaces; they’re also where we are most vulnerable. The idea of the sanctity of that world being breached by someone or something elicits a level of revulsion that makes it a perfect core to build a horror story around.

Horror has long been fertile ground for storytelling that extends beyond the boundaries of the shimmering edges of the silver screen. It’s no secret as to why. If you can encompass the crowd in a real life mystery the horror can become real, leaving the audience with a muted, buzzing discontent they carry home with them and discuss on smoke breaks at work. Though, I’m not quite sure we’ve seen a story quite like this.

Let's get this out in the open right off the bat. At least 90% or more of people who queue up Netflix's latest original movie, The Discovery, will disagree vehemently that it is a horror movie--and obviously since you're reading this, I disagree with that. This Jason Segal vehicle is so heavily doused in melodrama that one cannot blame anyone for writing it off as high concept drama and not extend it the courtesy of recognizing its reach into the sci-fi and horror genres. There are no monsters, no ghosts or masked slasher stomping around murdering over sexed teens.

Ripley (Sigourney Weaver) comes face to face with an alien in Alien 3

Alien 3 is the kind of movie people write books about – but not in a good way. During its tortured, six-year slog to the big screen, the film famously chewed through prospective writers, directors, and plots like acidic blood through metal floors. The eventual finished product, which was directed by a young David Fincher, is no less chaotic. The film is at times brilliant, producing moments that have become iconic, like the juxtaposition of an alien birth scene with a funeral for a pair of fallen friends or Ripley’s face-to-face (or cheek-to-face) alien encounter.

Accurately describing the off-the-wall monster flick Colossal is no easy task, from the surprisingly star-studded cast to the genre melding narrative. What is easy to describe is just how much of a triumph this vastly misunderstood film truly is. Partly a "return to your roots" story mixed with a full-on giant monster fest, Colossal manages to take on a great deal of deep subject matter without completely losing its dark humor along the way. 

The four ill-fated campers from The Phoenix Tapes '97

Found footage is all about momentarily tricking even the savviest of viewers that what they’re watching, no matter how improbable, is real. Filmmakers seek to disarm through elements such as imperfect camera work, simple storytelling, and grounded performances. Sometimes, filmmakers will forgo traditional end credits. The people behind The Phoenix Tapes ’97 employ all of these tricks, although they go even further. At press time, the film’s web presence has been painstakingly crafted to further the illusion of truth, hiding the names of the cast and crew involved.

When I trace back my journey as a horror fan, I most often credit my introduction to the genre to John Carpenter’s classic 1978 film, Halloween, which I watched at, fittingly, a Halloween party during me freshman year of highschool. The film that I often forget to include, however, is one that I saw one year earlier, that has stuck with me even more fiercely. The movie is Henri-George Cluzot’s 1955 Diabolique, which my eighth grade French teacher played for us in class.

In the modern era of remakes, Japense horror movies for American audiences are extremely commonplace while there is little talk about the opposite. Here is a list of American films and monsters being re-contextualized for a Japanese audience. 

In 1983 Stephen King released Cycle of the Werewolf, a Gothic horror werewolf story unsurprisingly set in a small town in Maine. The story is notable for a few reasons, firstly the story is told in short story format following the lunar calendar creating a larger werewolf story over many incidents and how they affect the inhabitants of the small New England town. Secondly, it was presented as a graphic novel, illustrated with startling, gruesome splendor by the great Bernie Wrightston (Swamp Thing and the beautiful Frankenstein graphic novel) who passed away on March 18th.

One of the robots lurks near a fresh kill in Chopping Mall

There’s a moment in Chopping Mall, a 1986 sci-fi slash-ploitation flick about a trio of mall security robots that go rogue and start offing teenagers, where one character snaps at another, necessitating an apology. What follows is a line so sublimely stupid that it seems almost purpose-built to launch the movie into cult classic territory. Without an ounce of cynicism, the offending party apologizes, justifying her faux pas by saying: “I guess I’m just not used to being chased around the mall in the middle of the night by killer robots.”