Before it reaches its second act, Hereditary has already shown its hand. It’s a shame, because to propel the film forward, writer/director Ari Aster conjures up the most emotionally convincing and gut wrenching sequence you’ll see on screen this year. As a film about loss and grieving, though, it’s hard to sit back and fully appreciate Aster’s feature debut when the hardships the Graham family faces are experienced in oversaturated waves, leaving one feeling broken, frustrated, and perplexed.

For no particular reason, here's the knife from Final Exam

Even those of us a few years removed from our college days no doubt remember the stress of finals week. Those late nights spent staring bleary-eyed into a textbook on a subject far removed from our majors yet essential, from a bureaucratic perspective, to our futures just the same. Tensions were high during those dying days of the semester, and it’s there that Final Exam resides, a slasher more concerned with academics and social circles than actual slashing. Other films, from all genres, have played in this space, but few have done so with such a stunning lack of, well, anything.

The line between thriller and horror is thin and blurry. The distinction seems primarily used to differentiate audiences, rather than content. Among non-genre fans, it is not uncommon to hear people say that they like thrillers but not horror films, much in the same way people express that they are “spiritual but not religious.” When faced simply with a film’s plot, it can sometimes be hard to guess what genre label a film might garner.

Disclaimer: Ahead be spoilers for a 20-year-old movie. Turn back if you have not watched this film four times on TBS Superstation. Second of all, DON’T HIT ANYONE WITH YOUR CAR! Also, this is a piece of legal entertainment and the following is not legal advice and is meant to be entertainment. If you hit someone with your car, might I suggest contacting independent legal advice before trying to catch a killer fisherman… (pun intended).

Sitting down to write this I recalled the number of times I wrote a lede discussing the glut of zombie stories in the horror genre. So inundated is that sub genre that even our reviews begin to sound rote. It was into this hostile environment that in the States Netflix released the Australian produced zombie flick, Cargo (also known, by me, as “Dad by Dawn”).

Blumhouse Productions has made its mark in horror, for better or worse, by leaning into whatever off-the-wall story its films are trying to tell. There have been the successes, such as Get Out and Whiplash, as well as the many, many missteps (looking at you The Darkness, The Lazarus Effect, etc.).

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.

Disclaimer: This article is meant as entertainment and is not legal advice. Please consult independent legal counsel if you plan on burning a cult leader’s initials into your skin and before joining a cult in the first place. At least paying your lawyer’s fees is a legal form of masochism. 

The gang goes to war with graboids in Tremors: A Cold Day in Hell

Tremors: A Cold Day in Hell is a classic over-promise-under-deliver scenario. Based on the title and marketing, this, the sixth film in the Tremors series, seems to promise graboids – the franchise’s iconic giant, carnivorous worms – stalking a frozen Arctic tundra. Admittedly, that scenario makes no sense. Permafrost, one can assume, would not be an ideal habitat for a subterranean predator whose tactics are based entirely on moving swiftly through lose soil in pursuit of prey.

With less than a half a season left to go, Ash vs. Evil Dead found itself in a predicament that too many good shows have encountered. Suddenly they could be counted among the list of shows which have been cancelled mid-run.