Brian Moreland’s Tomb of Gods is a riveting adventure that had me at the edge of my seat from start to finish. Anyone who is a lover of mythology, especially Egyptian mythology, should read this novel.
In my Stake Land review, I briefly discussed this film’s producer, Larry Fessenden, a veteran of the indie horror scene. A self-proclaimed student of Hitchcock, the man of many hats and his New York based company, Glass Eye Pix, have been going strong for 25 years. During that time, he and Glass Eye Pix have launched and furthered the careers of some of the better directors on the outside of the mainstream: Ti West, Jim Mickle, Kelly Reichardt, Mickey Keating, and Glen McQuaid. Fessenden has produced and also acted in a lot of their work and other films, making him an unsung character actor of the horror genre as well. He even made an appearance in Jim Jarmusch’s 2019 Cannes’ entry, The Dead Don’t Die.
In the dying days of the old west, an elderly sheriff and his posse set out to rescue their town's doctor from cannibalistic cave dwellers.
Witches are one of the first true staples of horror. Almost everyone’s favorite story has a witch. Whether it’s The Wizard of Oz, Harry Potter, King Arthur, or Grimm’s Fairy Tales, there’s a witch. Most of the time, witches are the villains, stemming from age old Puritan fears. But as an icon, the witch has never died in popularity, aided by the rise of modern-day Wicca in 1954.
With the arrival of Robert Eggers in horror cinema last decade, we have seen a renewed interest in folk horror. Tales of localized terror that reveal, in some part, a larger tapestry of the culture they exist within. Eggers' own The Witch (2015), Na Hong-jin's The Wailing (2016), and Jeff Nichols' Take Shelter (2011) all arguably fall into this moodier, more atmospheric kind of horror. Then in 2018, we were blessed with the premiere of Edge of the Knife, a First Nations film that exemplifies the best that sub-genre can be and then some.
Although the 4th of July has passed us by, at least in my neighborhood the fireworks can be heard throughout the night, so I feel it’s appropriate to continue talking about those summer horror films that have come out over the years. No, I don’t mean Jaws. So much has been said about the summer blockbuster and how brilliant it is. But set around the same holiday, I decided to take a look back at the Blumhouse flick, Dark Skies.
All work and no play made Jack a very dull boy indeed.
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Anyone who’s had to care for an aging parent or grandparent knows the toll it can take on a family. In Relic, director Natalie Erika James’ feature-length debut, dementia becomes an all-consuming force that takes over the house. The slow-burn Australian film is one that you’ll think about for days after you watch it. It proves that the horror genre has long been the perfect vehicle to address issues like aging and dying. Relic does so in a horrifying, yet beautifully poetic and tragic manner. The result is one of this year’s best genre films.
Early into The Beach House, the film’s protagonist, Emily (Liana Liberato), comments that her idea of the beach is a blanket and good book. Yet, she also riffs about how life began on our planet and how much we don’t know about the deep ocean. The film, written and directed by Jeffrey A. Brown, asks us to ponder what could happen if an environmental contagion spread and infected us. Like an H.P. Lovecraft story, most notably “Color Out of Space,” The Beach House is a grim reminder of just how small we are in the context of the universe and how one little change or microbe could alter everything.