We certainly don't get a whole lot of horror films from Israel, so when one called Rabies (aka Kalevet) hit the festival circuit a few years ago I made sure to give it a bit of a spotlight. Fortunately for all involved the debut film from Aharon Keshales and Navot Papushado was a dark and novel little treat, one that had no problem combing its own tone and attitude with some obvious inspirations from American horror films of the 1980s. Now the duo has returned with another devious delicacy.
The patently familiar new psycho thriller 6 Souls actually played film festivals back in 2010 under the title Shelter before collecting dust on a Weinstein shelf for a few years, only to pop up on VOD this week.
Smart horror fans know that they have to be flexible on some things.
2012’s V/H/S hit the Sundance Film Festival with such gory success that it only makes sense that the guerilla team of next generation horror directors, writers, and producers would team up again and try to replicate it a year later.
With a title like Jug Face, you could get just about anything. Is it a satire? A basic slasher retread? A tale of haunted dishware? The good thing about an offbeat title is that it compels you to approach the film with a touch of caution and a dash of attentiveness
If you're looking for a dark-edged genre mash-up that feels gritty one moment and slyly satirical the next, there's a nice batch of treats to be found in Day of Reckoning
The Texas Chainsaw Massacre has a cinematic legacy that is long, colorful, and pretty darn terrible.
We don't get a whole lot of independently-produced disaster movies, and it's pretty simple to figure out why that's the case. Of all the action film sub-genres, the "disaster epic" is easily one of the most ambitious and expensive, and filmmakers like Irwin Allen and Roland Emmerich clearly need a whole lot of cash to deliver massive cinematic destruction on a huge scale.
“Undead” is a very broad term, if you think about it. Vampires are undead, obviously, but so are ghosts, zombies, and mummies.
Trying to strike a balance between fact-based atrocities and “fun horror escapism” can be a dicey proposition. A film really skirts the line on bad taste if it starts to exploit actual murders, rapes, and wartime atrocities in a framework that genre fans may also describe as energetic, kinetic, and entertaining.