I’ve always had a very strong relationship with The Shining. My adolescent years were spent obsessing over the novel and the iconic (if not highly contentious) film adaptation, looking for every crucial detail, trying to discern what it meant in the grander scheme of what Stephen King was trying to convey with this masterful story…

Will (Armie Hammer) is a bartender at a dive bar somewhere in New Orleans. His job is simple but he enjoys the work – serving the same set of regulars that become like a family always seemed to appeal to him, and he seemed to lack broader ambitions, with the opposite being true for his…

Cathryn (Susannah York) is a reclusive author of children’s books who is currently struggling to finish her latest work. This is mainly the result of her declining mental state, where she starts to see and hear voices that heighten her paranoia. In an attempt to liberate herself from the angst-filled city, she convinces her husband,…

The Last House on the Left is a dark, often offensive and generally unpleasant experience. It is also one of the most audacious films of the 1970s, and a remarkable addition to the canon of highly original constructions of terror. Occurring right at the intersection between gritty exploitation and disconcerting horror, Wes Craven makes quite…

“Centreville, USA: A real nice place” – visitors to the quaint little town are greeted with these words as they enter, and it’s difficult to argue with the sentiment. Harbouring less than 800 residents, it is the quintessential small Midwestern town that doesn’t make much of an impression, other than being a genuinely lovely place…

There are few films that have amassed quite as intense a following as The Wicker Man, the darkly comical horror by debut director Robin Hardy, who instantly forged a path for himself as someone of great significance in the canon of horror history, even if this film was his only notable work. A gloriously dark…

In 1974, Tobe Hooper made his directorial debut with the feel-good family comedy of the year, the film that embodied the mantra of “live, laugh, love” and brought a sense of warmth and comfort to audiences everywhere, who doubtlessly went straight to their local travel agency and booked their one-way tickets to the American South,…

Turns out I didn’t learn my lesson after Hereditary. Ari Aster is clearly a director in need of some form of therapy (or perhaps a form of exorcism) if Midsommar has anything to say about it. I am not entirely sure if Midsommer is a film that I absolutely adored or vehemently despise, and I…

Ma is garbage. Lurid, gaudy and almost as if the entire concept of artistic integrity has been insulted by this grotesque, excessive expression of immorality and unhinged incredulity to everything considered honourable and decent. It also is one of my favourite films of the year, and most certainly the most entertaining film I’ve seen in…

With his controversial 1976 masterpiece, Who Can Kill a Child? (Spanish: ¿Quién puede matar a un niño?), Narciso Ibáñez Serrador not only shocked audiences, but he also established himself as one of the most profoundly strange filmmakers working at the time, with this film cementing his status as someone who prioritizes subversion of common ideals….