If the key moments of the 2016 election and events leading to present day were cut conveniently into a highlight reel it could quite possibly be the greatest "based on real events" horror movie ever made. Kasra Farahani most likely agrees. The director's latest film Tilt takes psychological horror and injects a healthy dose of 2016/2017 political maliase through its veins. Needless to say, it's not the best cure for post Trump depression. 

Following the news on Sunday that horror maestro George A. Romero had passed a group of BGH staff felt compelled to share some thoughts and experiences with the filmmaker’s work. As expected we remember his iconoclastic and prescient approach to the genre while also contemplating how his films function like a scrapbook clocking our horror education.

For any subgenre (or genre), relevancy and novelty are constantly in flux. After 2006’s remake of Black Christmas, it looked as if the glory that Scream had (re)birthed was dwindling.

Slead Score: A-

Even 25 years later, Laura Palmer unveils the evils of men.

By now any genre film fan knows you’re not safe anywhere. You can also raise a guess that if you decide to go camping, especially in the remote outdoors, you’re probably going to end up dead. Or at least wish you were.

During the mid to the late 80s the horror movie genre was taken storm by tiny monster movies. The giant lizards and enormous apes of yore had shrunk to tinier, insidious, and more mischievous beasts. Varmints with dagger like teeth and a penchant for dangerous shenanigans flooded suburbs and terrorized families and rural America. A banner film in this sub-genre is Critters.

If there is one message that tourists traveling in foreign lands can find again and again in the horror and thriller genres, it is not to trust anyone you meet abroad. You could be lured into a torture orgy (Hostel), sold into sexual slavery (Taken), or worse (Donkey Punch). Cate Shortland’s recent release Berlin Syndrome takes on this same theme, in a very brooding and slow fashion.

The eyeball-cam from The Gracefield Incident

The Gracefield Incident, the latest entry into the aliens-in-the-woods subsection of the first person horror genre, has one worthwhile gimmick up its sleeve. This has to do with the idea that our main character isn’t holding a camera throughout the duration of the film, he is the camera! Well, sort of. Anyway, outside of that one piece of sadly underutilized (and admittedly logically-challenged) innovation, The Gracefield Incident seems content to follow safely in the footsteps of the movies that came before it – only with French Canadian accents.

Authenticity is a vicious beast when it comes to genre fare. The horror genre runs the gamut of over-the-top ridiculous gorefests that almost no one can possibly take seriously to gut punches that stick with you for days. Super Dark Times falls into the latter, but in as much that being a teenager can be horrific in and of itself.

The void review

Can yet another love letter to the 1980s still prove to be original and frightening?