Horror is the style right now, and if you’re trying to get into it but don’t know what kind of horror you like, here’s a movie for you.
She’s home! Annabelle, she’s home! That’s…that’s really not good, whose home did she come to? Yours? Mine? Hopefully yours. Sorry, I want to live.
And it took a good bit of legwork to actually get to ten, let me tell you!
A movie about zombies by one of the coolest filmmakers out there, starring a ton of people I like, should be a slam dunk, but then…what if it isn’t?
Good, patiently executed scares are a gift from the movie gods, and so’re opportunities to hash it out with the people responsible for putting those scares together.
You got your body horror in my psychological thriller! Except that it’s all horror, even when it’s too over-written for its own good. Pft.
An instructional film about what to do when you’re alone on a mountain overlook and there’s a corpse and possibly also a ghost or a bear.
Let’s go back to an oldie but a goodie by discussing a newbie that is also a goodie! And also a grossie!
This is “Us,” or: This is my piece on “Us.” This my piece on what happens when “Us” is given a second viewing and how the insanity and meaning packed into its ending fundamentally changes the experience of the film.
In which I elaborate on the magical deliciousness of Irish horror, which isn’t quite magical and certainly isn’t delicious but is mostly just, uh…horrifying. And great. All of this courtesy of A24’s “The Hole in the Ground.”
Andy interviews an Argentine-born French filmmaker whose work he’s followed since 2002, and ends up looking kinda foolish but it all works out in the end.
Sometimes you pay (literally, you, not me) to see a movie, and you get exactly what the title promises. Take “The Hole in the Ground.” It’s about a hole. In the ground. Boom, value.
Alternative tagline for this movie’s poster: “U Look Like A Monkey / And U Die Like 1 2.” You can have that for free. Wait, no: Royalties.
How do you make a sequel to a slasher-fied “Groundhog Day”? Watch “Happy Death Day 2U” to find out. How do you make a sequel to THAT? Well, ¯\_(ツ)_/¯.
Not “gelato.” “Giallo.” You know, that most famous of Italian sub-genres where a killer goes around killing people? Nicolas Pesce’s new movie, “Piercing,” is all about the giallo. And apparently a bunch of other genres, too.
For those of you who are not yet sick to the point of barfing from hearing Andy kvetch and piss and moan about how bad “Hereditary” is…here’s another piece where Andy kvetches and pisses and moans about how bad “Hereditary” is.
You have questions about the ending of BIRD BOX. We have answers. (Actually, I have questions, and I have answers, plus residual anxiety that Netflix will green-light a totally unnecessary sequel to this thing.)
I generally avoid describing movies as “formulaic”*, except as a matter of fact; I neither consider formula a positive nor a negative. Formulas have their place. Good movies rely on formula. Bad movies rely on formula. Movies in between the two, the movies that comprise the majority of the bricks in the cinematic pyramid, also …