3:33 AM

Class of 2023: The Best Horror Movies of the Year

Review: Thanksgiving (2023)

Review: Guinea Pig 2: Flower of Flesh and Blood

Review: When Evil Lurks (2023)

Review: Maximum Overdrive (1986)

Review: Lust for a Vampire (1971)

Review: Sharksploitation (2023)

Class of 2022: Top 10 Horror Movies of the Year

Review: Prey (2022)

Texas Chainsaw Massacre: The Past, Present & Future of a Lost Franchise

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  • Class of 2023: The Best Horror Movies of the Year
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  • Review: Guinea Pig 2: Flower of Flesh and Blood
  • Review: When Evil Lurks (2023)
  • Review: Maximum Overdrive (1986)

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Trigger Warning ⚠️ most of these movies featur Trigger Warning ⚠️ most of these movies feature upsetting depictions of r*** or SA. Some will find catharsis in the revenge arc. Others will want to steer clear. In general I am hesitant to promote the r***-revenge subgenre (to which many of these films belong), because of the provocative and often exploitative nature of its structure (right there in the name). Especially with the older and more brutal iterations, shocking and often sexualized tr*uma is portrayed, consciously or not, as a prerequisite to feminine agency. A few open-ended questions: is there, with certain controversial subgenres, an artistic or sociological imperative to evolve the category? If it becomes morally dubious to repeatedly exploit gendered v!ol3nce for the purpose of emotional catharsis, can a type of film overstay its cultural welcome? Is there any precedence for a genre outliving its artistic usefulness? The answers will depend a lot on context and execution, and on your own personal tolerance for transgressive media. But let me be clear on one thing: abus3rs should not feel safe or welcome anywhere, and we must f!ght against the normalization of every aspect of r*** culture—a noxious byproduct of patriarchal capitalism in decay. Not until we decolonize our communities can we fix this moral rot. Clearly we cannot count on the state to help, so we will have to do it for each other.
I watched fewer horror movies this October than in I watched fewer horror movies this October than in years past, but I saw a juicy trifecta that represents some of the best in genre films I’ve seen this year: Coralie Fargeat’s THE SUBSTANCE is a genuine body horror sensation, THE DEVIL’S BATH is a feminist folk horror set in the remote woods of Austria, and RED ROOMS is a spellbinding techno-thriller about the morality of spectatorship—a disquieting warning for those engaging in the exploitative voyeurism of the vast true crime industry. The rest: some people are trying to reclaim Alien³ as “actually pretty good,” and while I love the energy (and we are all welcome to our own opinions), this movie still sucks. I am happy to talk about why I am wrong on this. I have enjoyed some of the films of Lars von Trier (the beautifully shot MELANCHOLIA and ANTICHRIST), but THE HOUSE THAT JACK BUILT is an insufferably self-satisfied exercise in toxic auteur mythology. LvT is yucky, and at this point he’s so far up his own ass that with any luck he’ll get lost up there and never come out. Lastly, SPIDER BABY is a truly wacky ‘60s film with strange and problematic depictions of mental illness, with a subtext that seems to speak to class, culture and family in ways that I am still trying to figure out. THE SUBSTANCE (2024) Watch on: @mubi HAUNTED MANSION (2023) Watch on: @disneyplus THE DEVIL’S BATH (2024) Watch on: @shudder RED ROOMS (2024) Rent on: @appletv, @primevideo Alien³ (1992) Watch on: @hulu THE HOUSE THAT JACK BUILT (2018) Watch on: @kanopy SPIDER BABY OR, THE MADDEST STORY EVER TOLD (1967) Watch on: @criterioncollection, @kanopy, @primevideo
Happy Halloween! I would love to write the perfe Happy Halloween! I would love to write the perfect caption for my favorite holiday, but my brain is mush. Here’s to holding hands in the dark, doing things that scare you, and eating candy that was supposed to be for kids. I am so tired, but my heart is full.
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