 There is a subset of contemporary horror that seeks to return to the formative experiences of its artist's encounters with the genre. The work of directors such as Ti West, David Robert Mitchell, and Adam Wingard evoke the films that got them into cinema (namely, the work of John Carpenter). This nostalgia is sincere and welcome, yet it feels as though that is only superficial, that the nostalgia for the style and technique is of utmost importance and not an understanding of what makes the material unique in the first place. Even more so, it can't be helped to look at these films as being specifically about masculine nostalgia for the genre. So, one might think there should be a feminine answer to this nostalgia. Answering that need in an almost cosmic fashion is The Love Witch, Anna Biller's 2016 femme horror magnum opus.
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 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.
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