“An ode to the dawn of cinema and a reminder of the death of the American Dream.” At the height of the Spanish Influenza and the coup de grace of World War I, an isolated farmhouse occupies acres of land in the southern United States. Inside lives Pearl (Mia Goth), a spirited and passionate young…
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“In a genre that is built on itself, taking tropes and concepts from other films to create something entirely new, ‘Hellbender’ doesn’t feel like many other horror movies made before.”
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Fan service could have been the detriment of both ‘Spider-Man: No Way Home’ (2021) and ‘Scream’ (2022) but ends up being an advantage.
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Our editor-in-chief Hayley Paskevich talks to young filmmaker Avalon Fast about everything from the many different hats she wore during production, to bees and girl cults.
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“Through her slow embodiment of the “Witch,” something unfathomable to the very foundation of her familial structure, Thomasin frees herself from the weight of the same trauma that crushes everyone she loves.”
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“While Mickey Reece’s ‘Agnes’ (2021) is largely marketed as a horror film that draws upon the tired tropes of demonic possession and religious exorcism central to the nunsploitation genre, it surprises audiences by emerging as a haunting tale of grief, young motherhood and loss.”
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“What I can see is the cult cinema of tomorrow: the films that genre freaks and film school contrarians will use to enhance their Letterboxd favorites with the aura of obscure good taste.”
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“In ‘The Sadness’ the fear is not—as Hitchcock might have asserted—what is unseen, but what can be endured.”
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“‘Lux Æterna’ associates the cinematic regard with the spectacle of a witch burning, gobbling up misogynistic entertainment at the expense of another’s pain.”
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“Taking up the mantle of other bright stars of the creepy-old-lady-upstairs subsection of the genre, ‘Good Madam’ offers an interesting take on horror that passes, first and foremost, through the hands.”
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