Sorry, it’s been a slow start to the blog in 2018 as life has got in the way. But here is my first piece of the year, an introduction to the BBC’s new horror series Requiem. Continue reading
Continuing my countdown of my favorite films of 2017, a really amazing year at the movies. Continue reading
I thought 2016 was a good year to go to the movies bowling a vicious curve ball right at 2017’s shins. But 2017 has absolutely hit it out of the park. So good has the year been that some tremendous movies failed to make the cut despite being (I thought) near certain top 10 contenders when I saw them. Movies I loved like Logan, Get Out, and T2: Trainspotting just got edged out but a rewatch could make me regret not including any of them so slight are the margins that films in the bottom half of my top 20 are virtually interchangeable.
Here are numbers 20-11… Continue reading
To celebrate the release of David Lynch’s Twin Peaks: The Return on Blu Ray on December the 4th, here is a second guest blog by Jacqui Barr following her Mad Max: Fury Road piece which remains the most popular thing I’ve ever posted on here. Enjoy.
!!!WARNING: SPOILERS AFTER THE JUMP!!!
Hello my good fiends, to mark the passing of Samhain and the beginning of winter, I am bringing you only the second ‘guest’ post in this blogs brief history. A few words of introduction, apart from being a dear friend of mine (one who I shall be having for dinner soon) Mr David William Hall was my editor at the late and highly lamented Verite Magazine (all issues archived online here). Along with Toby Weidmann editor of Official Walking Dead Magazine, I credit David’s gossamer editorial touch, critical insight, and encouragement for making my writing at least passably readable.
Obviously the views and opinions that follow are the author’s own, but they appear with the complete endorsement of this blog, with the caveat that I liked the Annie Clark segment of XX, and still think Rosemary’s Baby is a classic horror film. Continue reading
Darren Aronofsky’s new film mother! arrived in nachoplexes this weekend (15th September) carrying a huge weight of anticipation following a carefully calibrated and secretive marketing campaign and a premiere screening at the Venice Film Festival that provoked both applause and catcalls from the audience (at least at the early morning press screening). Now sooner did it arrive than it died at the box office, opening below projections with a reported $7.5m in the US and achieving a rare F from Cinemascore, the lowest possible rating from the site that polls opening weekend audiences in the US as they leave the theatre.
Equating the worth of a movie to its box office success is something only idiots do, but it is interesting to consider why Aronofsky’s film has received such a rough reception from audiences whilst simultaneously being generally well received by critics. That is what I’m going to try to do with this blog whilst also discussing the film, and my personal interpretation of its meaning in depth.
In order to achieve this, I will thoroughly spoil the film. So if you haven’t seen it and you intend to… do not read past the jump. In fact, even if you don’t intend to see it, don’t read past the jump. Because who knows, one night you might stumble over it in late night TV, or find it as an in-flight movie (a hilariously unlikely prospect, but you never know). Trust me, you should see this film as cold as possible for it to realize maximum effect. Continue reading
Here for the LOLS is a piece on youth rampage exploitation and Savage Streets a particularly sleazy example from 1984. Continue reading