The Hess family listen in to an alien conversation in Signs

During one of many introspective moments in writer/director M. Night Shyamalan’s Signs, as the Earth inches towards what seems to be an inevitable alien-induced apocalypse, Graham Hess (Mel Gibson) posits a theory to his younger brother, Merrill (Joaquin Phoenix). Now this is no offhand musing. It’s the thesis statement of Shyamalan’s film. Graham explains that there are two kinds of people in the world. There are those who see miracles and there are those who see coincidence.

Brothers Clint and Adam are presented as something of a Canadian-flavored odd couple in Devil in the Dark – a new VOD horror movie available on March 7 from Momentum Pictures. Clint is the picture of stereotypical masculinity – he’s a hunter, a blue collar guy who wears flannel to work and has a 5 o’clock shadow no razor could hope to tame. Adam is the opposite – he’s a baby-faced comic book nerd who (allegedly) abhors hunting.

When Danny Boyle’s instant classic, 28 Days Later, was released in 2002, it was revolutionary; not just because it gave us the standard for horrifying and quick moving zombies, but because it was not released in a year that was inundated by films featuring the living dead. Zombie films are a dime a dozen these days. As AMC’s smash hit The Walking Dead has grown in popularity and continues to attract a large viewership, production companies have jumped to capitalize on the trend, even as it might finally be seeing a downturn.

Horror has its origins in folklore and fairytales. The type of stories that were designed to hide within them the germ of truth; a real life lesson enveloped in the fantastic. These stores would later cement themselves as the tropes of genre storytelling. These are warnings, parables that illustrate the horrors that inhabit our world and then exhibited behind the display case of fantasy so that we may observe them objectively. The best of genre often operates this way; intricately layered, fiercely intelligent, and many times divisive.

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.

Lord of Illusions Review

Who says the mid-‘90s was a terrible time for horror?

A comedic thriller might be the best way to describe Macon Blair's directorial debut. Blair is the talented actor that's flown largely under the radar but some will know from his starring role in Jeremy Saulnier's Blue Ruin as well as roles in Saulnier's two other flicks Murder Party and Green Room. With I Don't Feel at Home in This World Anymore Blair shows us that he absorbed a thing or two from his filmmaking counterpart.

A scene from 2016's Sadako vs. Kayako

Sadako vs. Kayako – a mash-up that brings together J-Horror’s two most iconic villains and franchises – opens with a young social worker entering a house and calling out to the person to whom she is there to attend. She receives no answer. She moves through the house, calling out again and again, but nothing. Anyone who’s seen any of the Ju-On or Grudge films knows where this sequence is going … only it doesn’t go there.

There is a thin line between mystery and utter incomprehensibility. Often times a film seems bent on leaving the themes to be parsed by the viewer, peeling back the onion to get a pungent whiff of its artistic meat beneath its arid membrane. This can create a more memorable experience as the viewer is forced to assimilate these ideas themselves and leave them to resonate long after the film has ended. Other films, as with Necrofobia, you peel back the onion and find there is nothing inside.