Here at Bloody Good Horror we spend much of our time talking about good movies and bad movies alike, and picking apart the things that place titles in either category.

Love it or hate it, The Conjuring-verse has expanded once again. Corin Hardy’s The Nun proves that no monster or character from these supernatural films is safe from receiving their own standalone story, including the titular demonic religious figure. For those wondering how this evil nun came to be before the events of The Conjuring 2, you’ll be disappointed to know to know The Nun doesn’t accomplish much with world-building or connecting the universe’s dots.

Off-brand Tarantino may as well be a genre of its own at this point. When Tarantino turns in something less than his highest standard it's still better than your typical Hollywood fair. When a filmmaker turns in a somewhat lackluster work that is Tarantino-esque its mediocrity is much more pronounced. Drew Goddard's triumphant return to the big screen, Bad Times at the El Royale is not damningly mediocre, but it's discount Tarantino vibe looms ominously over the nearly 2 and a half hour behemoth.

Freddy strikes in A Nightmare on Elm Street

Note: Screams Off Screen is a regular feature committed to exploring the true stories that inspired horror cinema’s darkest minds as well as the urban legends spawned by its most iconic films.

A series of arresting visual and sonic landscapes, Mandy often feels like a 2 hour trippy music video you'd see playing on a computer desktop in a darkly lit room through a cloud of smoke, lit by a blacklight. In such a setting, under the influence of any number of substances, it's easy to see the appeal. Stone cold sober Mandy may only be accessible to a very specific audience that's forgiving enough to overlook its masturbatory vibe.

As Jeffrey Wright's character Russell Core posits early in Jeremy Saulnier's latest, "I'm here to help if I can. To explain this, if I can...", the words stick like the icy Alaskan snow on Mr. Core's borrowed boots.  He is searching for a missing 6-year old boy at hands, or paws if you will, of a pack of wolves. These simple words serve as a mission statement for the remainder of Hold the Dark, because while the premise of Saulnier's film can be condensed simply enough, the ride from opening to end credits isn't nearly as such. Though, it's debatable if Mr.

Right off the bat, let’s get something out on the table. Horror movies have a complicated history when it comes to the portrayal of women. The genre is rife with tropes that flatten women to wholly two-dimensional people. Like many other genres and mediums, women were often allowed to be an archetypal virgin or whore. Women who own their bodies and sexuality have often been treated as disposable at best and villainous at worse, while women who are allowed to survive and thrive have often done so by following the genre’s unspoken rules about drinking, drugs, and premarital sex.

The odd thing about Trucks is that as a movie, it really has no way of working. For a horror romp about killer sentient trucks, you'd think there would be something, perhaps a camp factor, that would make it a fun watch. However, not only does Trucks fail to embrace its larger than life premise, it also manages to hit a dead end when trying to play it all straight.

Placing children, particularly babies, in peril in any genre tends to be overtly manipulative. Sure, there's a subsection of audiences who don't have the same emotional connection to the fictional well-being of the young, and it's likely that cross-section would have no interest in Brandon Christensen's Still/Born. But those inclined to worry immensely about the safety of little ones are in for 90 stress-filled minutes.

The trailer for Thoroughbreds was one of the most memorable that I saw last year. When you see as many movies (especially horror movies) as I do in theaters you get pretty desensitized to trailers with teens, spooky nuns, and jump scares. I don’t remember exactly what movie this trailer preceded but I was instantly mesmerized. I had not heard anything about Thoroughbreds and I had no idea what it was about, but the trailer featured Anya Taylor Joy and Anton Yelchin (thereby revealing that he had one last movie that I had no idea about it).