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 – but everyone knows 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.

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?

Rise, Dawn and now War. Matt Reeves' vision for Caesar and his fellow primates has held tightly to biblical semblance. War for the Planet of the Apes certainly promised what appeared to be a bombastic finale for the trilogy, but is less of a war film and more a tale of exodus. Plus, we have certainly come a long way since Brian Cox's monkey jail. 

Our twenties are a tough time, almost across the board. Between the ages of eighteen and twenty-five, become adults, many of us leave home. This is a period characterized by change and discovery, of figuring out who we are and who we want to be. It is then, not surprising that a new film in George A. Romero’s Of the Dead series, made and released twenty years after the previous film, might show signs of growing pains.