There is no pleasure in crapping all over the hard work of many when putting together a small indie genre flick. Similarly, there should be no pleasure in your work crapping all over the genre fans that decide to give your small indie flick their time of day. There's a middle ground somewhere in there that with an open mind and reasonable accommodations that Chris von Hoffmann's debut flick, Drifter, could be appreciated as being conceived with the best intentions that also needs an audience willing to overlook its flaws. This is not one of those times.

Although primarily known for his novels and short stories, Stephen King’s name is one that has become almost synonymous with all things horror. The mid 1970’s saw the beginning of a steady stream of movie adaptations that still continues to this day. There have been highs (Carrie) and lows (all the Carrie remakes), but with your name attached to so many properties, it is impossible to imagine a world where every movie bearing his moniker is a good one.

Danny Trejo stars in Machete Kills

Machete Kills, the sequel to Robert Rodriguez’s 2010 B-movie action lovefest Machete, begins in an unorthodox way: with a trailer for its own sequel. Of course, nothing about the franchise – which was born as a sub-three-minute fake trailer at the top of Grindhouse and expanded into a pair of hundred-minute-plus features – fits the bill of orthodox.

It’s easy to dismiss a fun, stupid movie as being easy to make. After all, most times when you hear the phrase it’s been proceeded by the word “just” in an act to dismiss and slander. Though if you would consider the pantheon of films you hold dear in your heart certainly you would find some idiotic gems among the rubble, even if you aren’t willing to admit to yourself they aren’t intellectual masterpieces. But what those films have is focus and the ability to commit to what they are with swagger and self-confidence. A much more difficult task than one might first consider.

Between The Witch and another movie that shall not be named (ya know...spoilers), 2016 was good to witch lovers. 2017 on the other hand, not off to a great start. It's not that Caradog James' Don't Knock Twice doesn't have its moments, but it sort of feels like some annoying kid at the public pool who keeps splashing you while you're trying to relax and get a sick tan. 

Lost Creek Movie

The transition from childhood to adolescence is tough for nearly every kid. Throw in a ghost and a parent-kidnapping monster, and it’s damn near impossible.

“There’s something real about a guy with a knife who just snaps,” Kristen Bell’s character says in the Russian nesting doll opening for Scream 4. Popular culture is full of stories of men - and occasionally women - who “just snap;” from horror to true crime and even comedy. These stories tap into a primal human fear, hearing stories like these we can’t help identify with the victim and often, to our dismay, the killer. But what happens when the perpetrators at the heart of the story aren’t grown men, but young girls? What can we make of that?

Bryce Dallas Howard prepares to enter the woods surrounding The Village

In 2004’s The Village – the sixth film from writer/director M. Night Shyamalan – the citizens of an isolated town in turn-of-the-century Pennsylvania live in constant fear of the monsters that inhabit the surrounding woods. As we learn, a truce has been struck. The villagers stay out of the creatures’ woods and, in turn, the creatures stay out of the village. However, it becomes clear the agreement is fraying.

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.

Recently Ciara Wardlow wrote a piece over at Film School Rejects exploring the intersection of fandom and cinephilia. The author’s focus is mainly on convergence culture and franchise product development, considering the ongoing relationships between viewers and diegetic worlds.