Like a rat-faced creature wearing a human mask, the cinematic adaptation of The Dark Tower is one thing masquerading as another. Its mask is that of a loving ode to Stephen King’s career-spanning, genre and mind-bending book series, one that can also serve as a safe entry for new fans. However, its true self is about as loving an adaptation as a Cliffs Notes pamphlet. Rather than welcoming them in, the hacked up narrative will make little sense to the uninitiated while alienating fans longing for a faithful (or even just coherent) take on King’s classic tale.
Quietly loitering at the intersection of horror and drama, Dig Two Graves is a starkly beautiful meditation on guilt and revenge. In the film, meticulously directed by Hunter Adams off a script he co-wrote with Jeremy Phillips, the ghosts of the past aren’t unseen slammers of doors or re-arrangers of furniture. Rather, those ghosts only exist in the thoughts and actions of the living, those unable to make peace with the past and who open themselves up to being consumed by it.
A trip to a local Halloween haunt is a spooky season tradition for many. Some braver souls may prefer to enhance that experience by journeying through a place whose real life history equals or surpasses the fictional chills created for the event. Setting a fake haunted house in a supposedly real one does have its risks, as documented in the 2015 found footage movie Hell House LLC, should that “spooky history” turn out to be more of a “spooky ongoing situation.”
Zombies aren’t always thought of for their flexibility, but few things can match their ability to bend to the vision of filmmakers, enabling stories that are sprawling or deeply personal, humorous or tragic, action-packed or terrifying. In It Stains the Sands Red, director/writer Colin Minihan and his co-writer Stuart Ortiz seek to use the zombie as a catalyst for private redemption.
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.
Any conversation about 1998’s The Last Broadcast, an ultralow budget forerunner of the modern day found footage subgenre, must begin with The Blair Witch Project. This connection is a blessing and a curse for The Last Broadcast and its creators, Stefan Avalos and Lance Weiler. In truth, the only reason anyone is still talking about their film is the apocryphal idea that Blair Witch in some way ripped off or was inspired by it.
Tell people you’re into cooking or yoga and they don’t bat an eye. Tell them you’re into horror, however, and you’re liable to get a variation of “How can you watch that stuff?” complete with a slight scrunching of the face to further show disapproval at your hobby. It’s a question (and response) journalist and horror fan Tal Zimerman seems to know all too well and one he seeks to put to bed forever in the overly ambitious but genuinely affectionate documentary Why Horror?
There are things humans aren’t meant to know. What the future has in store, for one. How many licks it takes to get to the center of a Tootsie Pop, for another. Pursuing answers to these mysteries has a way of leading people into the clutches of winged creatures who promise answers but whose motivations are far from pure. For John Klein (Richard Gere) and the residents of Point Pleasant, WV, the penalty for their misplaced trust could prove far worse than watching as a mean-spirited owl steals their candy.
There’s an old saying that a smooth sea never made a skillful sailor. Whether that’s literally true is a question best left for someone with stronger sea legs. However, the idea that a finished product is better for the hardships it endures is correct in other instances, such as a certain classic film, one that’s set on the high seas and renowned for being something of the cinematic embodiment of Murphy’s Law.
There have been many thought-provoking works exploring the seemingly never-ending adversarial relationship between humans and the natural world. Grizzly is not one of those works. Instead, 1976’s Grizzly – about a killer bear tormenting campers at an unnamed national park – features a scene where two hikers return to their campsite after a nearly ten-mile-long trek through the woods and begin tending to a mysteriously already-lit campfire. Later, a female park ranger announces her intent to dip her feet in a nearby stream only to start unbuttoning her top.
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Twin Peaks: The Return
Evan reviews the much-anticipated return of David Lynch's cult series "Twin Peaks." Weirdness abound!
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.
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
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