It may seem somewhat off-character to feature German arthouse drama NOTHING BAD CAN HAPPEN in the (virtual) pages of FANGO, but despite the film’s title, something bad can happen, and boy, does it ever.
BLACK ROCK is not the first film to focus on a woman or women who strike back against male violation, but it’s one of the few that neither exploit their female characters nor wear their feminist leanings on their s
The title of NO ONE LIVES at first seems like a spoiler, but as the movie grinds on, it comes to feel like an inevitability, and eventually a blessing.
Horror is a base genre in many respects, as it taps into our anxieties about what’s beyond the door for us all, about death and what–if anything–lies beyond.
A sociopathic odyssey, SIMON KILLER is less explicit horror and more the true nature of psychological thriller. Simon is unknowable; his intentions, actions, words and the truth behind them, unknown.
ASTRON-6 deliver real exploitation film shocks and laughs with FATHER’S DAY; late to the grindhouse fad game but it shows everybody else how it’s done.
Two years ago, Israeli writer/directors Aharon Keshales and Navot Papushado provided an out-of-nowhere highlight of the Tribeca Film Festival with RABIES, their multiple-twisty variation on killer-in-the-woods standards.
In DARK TOUCH, European director and provocateur Marina de Van transfers her now recurring theme of identity crisis and unsure footing from grown women to a young girl still in pre-pubescence.
One could argue that the goal for any horror or thriller filmmaker is to keep the audience, at the very least, figuring out the story’s twists and turns alongside the protagonist.