Andy is a contributing writer, occasional interviewer, surrogate Schnaars, and co-host of the Sophisticult podcast. He might not be as funny as Joe, rich as Jon, strong as Casey, adorable as Mark, or surly as Eric, but damn does he give great hugs.
The 1933 King Kong is many things. Like any piece of cultural history the film can be framed in various conversations privileging or critiquing its qualities. It’s a cinematic tour-de-force in special effects. It’s a myth-making vehicle that achieved a kind of cultural iconography equaled in cinema only by movie stars, Westerns, Star Wars, Samurai movies, the early 1930s run of Universal monster movies, etc.
James Cameron’s 1989 sci-fi thriller The Abyss took audiences to the steely blue depths of the Caribbean where the film’s plucky, devil-may-care bunch of oil riggers (in these movies aren’t they all?) square off sub-a-sub with a rogue SEAL team. Cameron’s film represents one of the final contemporaneous Cold War allegories in mainstream U.S. cinema. Though multiple edits and a ballooning budget kept the film from financial success it’s stark verisimilitude coupled with groundbreaking special effects endeared it to many critics.
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.
Let me set the scene for you. A hirsute man-child strolls into his local multiplex to check out the latest installment in a franchise about werewolves and vampires. Sounds pretty great, huh? What’s that you ask? Yes, that’s right. He’s never seen any other Underworld movie other than what’s been on FX in the background. Won’t this diminish his enjoyment of the impending whirlwind of leather, fur, blood spurts, and runny egg style Shakespeare? Absolutely not.
Somewhere in the hills of Southern California Irma (Barbara Crampton) is acting as caretaker and psychologist to a meek shut in named Janine (Sarah Hagan). Irma puts Janine through hypnosis sessions, sensory tests, and yoga lessons. “It seems so easy now,” Irma says, “but that wasn't always so.” Having exhibited obedience and lucidity Janine is allowed to venture into the outside world unattended. On one of these trips she encounters Savannah (Sara Malakul Lane).
Every year the BGH crew selects their picks for best and worst horror films of that year. Stay tuned toward the end of the year for our infallible consensus for the best and worst of the year, compiled by our very own genre mega-scholar Jonathan Schnaars.
Kevin Smith’s Yoga Hosers is a butts-joke movie. Things are going in butts. Things are coming out of butts. And if nary a butt be in sight you best believe there is going to be some sort of Internet joke geared toward (or about) those pesky millenials. It’s a movie purposefully base and as Smith has stated, geared toward a particular demographic. But whether Yoga Hosers captures the attention of that market is uncertain at best.
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).
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The United States of Horror
Tag along as our spooky patriots give you a tour of the greatest horror settings from around the U-S-of-A
Horror Through the Decades
Whether you're a dusty Baby Boomer or a filthy Millenial, you'll no doubt appreciate Andrew's look back into the best horror TV shows since the 1950's
Watch Horror Movies. Drink Drinks.
One Thursday a month, Sophie lays out the rules for a horror film drinking game! Browse our past entires and be on the look out for new ones.