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alidr.bsky.social
(he/him) I write about horror movies at https://alifetimeindarkrooms.blogspot.com.
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Kairo is a notable piece of Japanese horror, a bleak and chilly fable about urban malaise. Pulse, the American remake...isn't. It's basically I Know How You Screamed When You Took A Wrong Turn To Your Final Destination, but...cyber!

Andrzej Zulawski's When Harry Met Sally

Apart from length and pacing issues that threaten to bring it to a halt, Pulse is a chilly, supremely uneasy examination of modern loneliness.

After being pleasantly surprised by Milk & Serial last month, I decided to watch a few more of Curry Barker's short films, and I gotta say, he's got chops. His film The Chair especially makes me want to see what he could do with more resources.

Post a banger that's not in English 🎧

Grave Torture takes the Indonesian "gory religious tract" formula and gives it a bit more of a contemporary spin. It's a bit uneven but it's a refreshing change of pace.

Holy crap I have to stop dismissing YouTube as a source for indie horror filmmaking because Milk & Serial is legit good, giving me Creep and Amateur Night vibes.

Jesus fuck, HBO's Chernobyl. That was the most comprehensively scary thing I've seen in awhile and it's not even horror. (It's horror.)

One Missed Call is in many ways a prototypical J-horror film, and that's both a strength and a weakness.

Ouija: Origin Of Evil is way better than it has any right to be, and that's because @flanaganfilm.bsky.social can absolutely cook. Just knowing how to tell a story and that you don't need to shove screaming jump scares in the audience's face every three seconds goes a long way.

The First Omen is better than any prequel has a right to be, but it would have been even better if it didn't have to bring all of the original's baggage along with it.

My biggest problem with Late Night With The Devil is that it's a film about illusion and the power of belief that ends up undermining its own power. Which is too bad because there's a lot to like here.

I am pretty sure I'd pay an extra five bucks or so for a version of any given streaming horror movie that omits *all* of the different production companies involved because goddamn that adds about five minutes to the running time just by itself.

Longlegs isn't a perfect film, but it's easily one of the most unnerving things I've seen in a long time and now I'm really mad that we'll never get the Oz Perkins version of @paultremblay.bsky.social's A Head Full Of Ghosts.

Lux Æterna is a short, dizzying blast of anxiety and sensory excess that uses the metaphor of witch trials and cinematography that can only be described as "aggro" to suggest that it sucks to be a woman in the film industry.

So I finally, FINALLY got around to watching Freaks, and as far as I'm concerned, all other "man is the REAL monster" films are superfluous in its presence.

A Wounded Fawn is by no means the only "charming man invites a woman to spend the weekend with him for nefarious reasons" film I've watched but it surely is the strangest, a fusion of classical mythology and surrealism.

God Told Me To is classic Larry Cohen, which is to say it's a B-movie that actually traffics in some big questions before going totally apeshit.

We Need To Do Something is literally "It Was A Dark And Stormy Night: The Movie" and the association with the Bulwer-Lytton contest is, unfortunately, apt.

Stuart Gordon's Re-Animator was one of my favorite horror movies as a teenager, but his film From Beyond left me feeling uneasy and disturbed. I revisited it recently and dang, it's really good!

Be My Cat is a solid found-footage take on obsession and the blurring of lines between fiction and reality.

Fresh is not a subtle film, but it is a well-executed film. It's an examination of objectification with the force of a sharp slap.

The Ghost Station is, perhaps reductively, a Korean take on J-horror. But reductive works, because it's pretty derivative. You've seen this film before.

The Burned Over District is less a film and more an assemblage of scenes that you might get if you took a garden-variety "small town with a dark secret" story and removed the story.

Susuk is very much an Indonesian horror film, unconcerned with Western sensibilities, but it never really comes into focus.

When Evil Lurks is a bleak, visceral take, not just on demonic possession, but the costs of human frailty as well.

The Reflecting Skin is one of those films that's been on my radar for years, and I'm regretting having slept on it for so long. It's a lyrical and haunting film, the cold surrealism of David Lynch shot in the palette of an Andrew Wyeth painting.

Just watched The Reflecting Skin for the first time and uh...holy shit. That is all for now.

As far as I'm concerned, a new film from the Adams family is cause for celebration, and Where The Devil Roams may overreach a little, but like their other horror films, it's striking and human and utterly unlike anything else out there.

Boy howdy, Oz Perkins' new film looks fucking DOPE.

I kept hearing that Cobweb was a mess, but the trailer kept piquing my curiosity, so I decided to give it a chance and, as it turns out, it's actually a mess.

I remember seeing ads for The Devil's Rain as a kid, and there was no way it was going to live up to my childhood imagination, but...whoo boy. Too clumsy to be serious, too serious to be campy, and William Shatner going Full Shatner.

Nocebo is a nuanced, uneasy story about class and the contrasts between cultures, belief systems, and worlds. I liked it, but I think I would have really, really liked it if I hadn't figured out where it was going before the end of the first act.

Consecration doesn't do much new with the "person goes to a convent/monastery to investigate a mysterious death and finds a terrible secret" formula, but it does it well until it decides to bring it all to a halt to explain everything we just saw.

Underwater looks like it's going to go someplace bigger and darker than you'd expect, but it pulls up short, leaving a film that isn't bad, but never quite makes it to great.

Repost with your earliest crush from film or TV. Christine "Moose" McGlade from Canadian kids' show You Can't Do That On Television.

As someone who has enjoyed previous examples of French horror from a certain period, High Tension struck me as a workmanlike (albeit vicious) slasher film with the most sloppy, lazy, dunderheaded "twist" I've ever seen.

Sister Death is very much a classic ghost story and it's very well-constructed, but in this case, "classic" means that it feels like I've seen it before, and ultimately doesn't hold many surprises.