There are few things in life more hellish than a high school reunion (or so I’ve been told, as one of the resident babies at Bloody Good Horror, my ten year reunion has yet to pass). The high school reunion has become a trope in media as well as in our lives, so prolific that you can probably list five titles off the top of your head that culminate at the reunion.


It’s 6:16 AM. A man wakes up next to his wife moments before his bedroom is invaded by assassins, is beaten and kidnapped, and his brief attempt at escape is foiled when he’s stabbed in the stomach and dies. It’s 6:16 AM. The man wakes up again. He changes course, trying to gas his assailants with cyanide, but a disturbing revelation about his wife leads to a gunfight in which he is killed a second time. It’s 6:16 AM...

This month Jayson and I take a trip to the 'Tree House of the Mind' to investigate which Horns is better; the original from Joe Hill or the 2013 film adaptation by Alexandre Aja. 


Talia in Blair Witch

Your feelings on Blair Witch, director Adam Wingard’s sequel to 1999’s The Blair Witch Project, will likely be influenced by two forces: hype and nostalgia. Three if you count your susceptibility to motion sickness. When its connection to the late 90s cultural landmark was unveiled at this year’s ComicCon, the hype was high – particularly among fans of Wingard’s other work, e.g., You’re Next and The Guest. Hype cuts both ways and going into Blair Witch expecting a genre-changing horror masterpiece is a good way to walk out disappointed.

This review will include spoilers.

Often, movies that claim to be based on a true story or on actual events bare so little resemblance to the reality that it is laughable. The real story can't always be as neat or as horrifying as the movies. Devil's Pass is the rare case where the truth is stranger, and scarier, than the fiction.

Bleary-eyed and soaked in chlorine, cheap pizza, joy, fulfillment, and margaritas, some of the BGH team comes to you with a list of 13 Hot Takes from this year’s Horror Hound Weekend Indianapolis (HHW).

Ryan Reynolds in "The Amityville Horror" (2005)

Despite the pop culture and genre cachet it wields, the original film adaptation of The Amityville Horror was never one of horror’s untouchables. The opportunity for at least modernization, if not outright improvement, loomed large. Even in a mid-00s landscape over-crowded with remakes, redoing The Amityville Horror made sense. Of course, theory is one thing and practice is another and in practice 2005’s The Amityville Horror wasn’t so much a modernization or improvement as it was an often awkwardly funny grab bag of haunted house clichés.

The Neon Demon Review

It’s a tale as old as Hollywood itself: the young girl who heads to Tinseltown seeking fortune and fame. The Neon Demon is director Nicolas Winding Refn’s spin on this cliché, complete with glitz, glamour, depravity, and vapidity.

Elle Fanning is Jesse, a sixteen-year-old who arrives in LA hoping to be a model and nearly instantly ascending to ‘it girl’ status. This does not go unnoticed by her peers who begin to plot against her. Along the way she encounters pervy photographers, a sleazy Keanu, and a hotel room-crashing mountain lion.

A feature film debut, with elements of science fiction and horror, from the son of the great Ridley Scott- everything seemed to be stacking up in favor for Morgan. However, when it comes down to it Luke Scott's first directorial feature sure feels a lot like Ridley Scott cashing in a lot of favors to get this one out there. Even still, Scott's film remains competent enough to not cause anyone involved to lose too much sleep over its quality- its box office success on the other hand...yikes. 

We all want that birthday to remember, until a certain age, then we just want to forget that ever growing number. Casey Tebo, successful music video director, seemingly has quite a few memorable stories to tell given his feature debut, Happy Birthday- a thriller of a couple of privileged white dudes looking to run amuck in Mexico till things take a serious turn for the worse. Tebo's debut often gets bogged down in it's self-gratifying storytelling, thinly veiled commentary on racism and awkward sexism.