FROM BLACK
Cora is a recovering drug addict who lost her son due to her negligence five years prior. The film opens with a shocking crime scene and a traumatized, bloodied, and rambling Cora in the sheriff’s office. How did we get here? Cora spins a tale of otherworldly proportions filled with grief, regret, and chance. How far would you go to see your loved one again?
Writer-director Thomas Marchese and co-writer Jessub Flower dive into the subgenre without apology. When grief counselor Abel offers Cora the opportunity to see Noah again, her response is an immediate “Yes.” Anyone that sits in sadness understands the answer. Spellbook, chalk drawings, and salt circles in tow, Abel guides Cora on a step-by-step journey of possible redemption. The audience is smart enough to know there are stills attached. That never lessens the intensity of the plot.
Anna Camp plays Cora. She is unrecognizable in this role. Audiences usually recognize her perky personality and blonde hair. Raven-haired and emotionally battered, Cora brims with complexity. Camp allows herself to dive deep into grief and regret. It is an out-of-the-box performance for her, and she is magnificent. I’d love to see her in more dark roles. She can handle them.
The addiction and trauma allegories are particularly evident in Cora’s final moments. While I had the overall plot pegged early on, the finale surprised me. Duncan Cole’s intense cinematography, combined with Luigi Janssen’s ominous score, grabs you by the throat from the beginning. The editing is a triumph that keeps you poised on the edge of your seat. A Faustian look beyond the veil, FROM BLACK is a grief-fueled nightmare. It will satisfy every level.
FROM BLACK is now streaming exclusively on SHUDDER
Ezra Buzzington is the hard-line skeptic as Paul. Clad in his Magor’s uniform bespangled with medals, his bristly approach to patriotism is all too familiar even now. His audibly growing disdain makes the audience squirm. Jeremy Holm is Archie. He has the perfect touch of panache from his slicked-back hair, mustache, and crimson jacket. His looming figure, combined with his humor, creates a dazzling performance.
Victoria Moroles is Jane. Her precociousness is spot a delight. Segan gives her dialogue deliciously reminiscent of Dawson’s Creek, i.e., she is far too eloquent for fifteen. Her chemistry with Segan is comfortable and endlessly amusing. Her takedown of the film’s misogynist energy is chef’s kiss.
Writer-director-star Noah Segan plays Francis as a Yiddish-spewing loaner. His penchant for a happy-go-lucky attitude is more function over form. We learn about his deep-seated loneliness and unresolved trauma, which creates an equally funny and tragic persona. Segan gives a star-making performance.
BLOOD RELATIVES is an undeniably fun vampire coming-of-age family film. Heartwarming, silly, and intimate, it is easy to see why it garnered so much attention in the festival circuit. Shudder is the perfect platform for Segan’s madcap creation. I formally request a sequel when Jane gets to college. I have to know where this family unit ends up. Don’t forget to bring Fieldner along.
Check out the newest trailer for the film and our 
Could we put together a cuddly list of family-friendly Easter films? Probably. But where’s the fun in that? Here is a list of films where a rabbit is featured in one way or another. Most are straightforward. A few, well, I guess you’ll have to watch them and figure out why they’re there. Happy Easter, and happy hunting for those pesky wabbits.
Peter Rabbit and his three sisters — Flopsy, Mopsy and Cotton-Tail — enjoy spending their days in Mr. McGregor’s vegetable garden. When one of McGregor’s relatives suddenly moves in, he’s less than thrilled to discover a family of rabbits in his new home. A battle of wills soon breaks out as the n
In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend, Lady Sarah, governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new s
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Comic relief comes in the form of 
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As Kiera investigates the house’s history, we are introduced to everything from Jewish mysticism to quantum physics. I wasn’t expecting math to be a thing, yet here we are. I thought the record player that coaxed the family members into all sorts of trouble was clever. But, not so much the characters googling Latin quotations. It’s a lot. There are fleeting moments of greatness, such as an ancient abacus moving on its own, air blowing from underneath the cellar door as if a creature were heavily breathing. The classic scares worked best for me. The final 20 minutes is where the real action occurs, a clear nod to 
In 
*Originally posted during Fantasia 2021*
Zelda Adams as Izzy is so intriguing in her innocence and curiosity. Her journey from child to adult occurs before our eyes, whether we like it or not. Toby Poser, as Mom, is a force of nature. Often telling an entirely emotional story without words. Their chemistry is never forced. This is not always the case when a family works together. In the case of the Adams family, it’s their biggest strength. Their work is dark and that takes trust and guts. And allow me to assure you both are teeming in Hellbender, quite literally. There is one special effect in particular that blew me away. When you see it, you’ll know what I’m talking about.
It’s a mother-daughter relationship film that just so happens to center around a witchy heritage. Predictably, deceit under the guise of protection is bound to backfire. Hellbender is about a secret and sacred family history. But, it’s also about the power of the feminine and a slick takedown of any sort of patriarchal structure. The social commentary between the treatment of witches and any female, ever, is glaringly obvious, but no less genius. Hellbender is undoubtedly one of the most kick-ass films from this year’s festival. It’s no wonder it won Best Score and Best Actress (Zelda) in the CHEVAL NOIR AWARD FOR FEATURE FILMS. I cannot wait for Shudder audiences to join in their fandom.
In my humble opinion, horror must be enthralling to justify 2-hour runtime. Shudder’s latest original film, 
Michelle Krusiec
Boasting unbelievable practical FX, the scares in V/H/S/94 are brilliant. I’m talking legitimate, meticulously timed jump scares from every single director. The quality of the film forces you to sit up and pay closer attention, sometimes squinting over the tracking adjustments as they crowd the screen. The V/H/S franchise has been able to capture something glorious beyond the found footage genre. It’s the mystery behind the overall arch that keeps you creeped out and engaged on top of the fantastic individual stories. It’s a double whammy of horror goodness. You’ll shiver and gag and think, “Damn, this is good shit.”
The grand scheme of V/H/S 94, or “Holy Hell,” has the audience following a SWAT team into an industrial building filled with monitors and plenty of body parts. They don’t know who or what they’re searching for, exactly. As they sweep the rooms a new tape begins to play. Each one is completely different and spectacularly twisted. Tape 1, titled “Storm Drain” features a local legend of Ratman. An ambitious reporter and her cameraman get in over their heads. Tape 2, “The Empty Wake,” sees a young woman left to record the wake of a recently deceased man. Alone with a dead body during a storm? No thanks. This segment was my personal favorite. It’s old-school scary meets nuts visuals. I couldn’t help but yell NOPE at the screen, again and again.
Tape 3 “The Subject,” tells the tale of a mad doctor attempting to improve humans with technology. If you ever wanted a live first-person shooter game experience, now you’ve got one. Tape 4 “Terror” takes aim at domestic terrorism with a group of militiamen planning to cleanse America with s monstrous weapon. I also have to mention, director Steven Kostanski’s infomercial “The Veggie Masher.” It’s totally maniacal and random as hell. But at the same time, perfectly harkens back to those 3 am hour-long commercials for ridiculous kitchen gadgets. The finale actually gives you answers. As the 4th installment of the franchise, V/H/S94 makes it clear that these films are alive and well and ready to fuck you up.
I feared this Martyrs Lane would be overlooked among the plethora of gore-filled content. That would have been the biggest shame to befall this year’s Fantasia International Film Festival. Writer-director Ruth Platt‘s carefully crafted tension and mystery should be celebrated. It has a quieter Babadook energy to it that is unmistakable. The film manages to be both a slow burn and a vice grip of tension. The editing puts your head in a spin in that you’re never sure what is real until the very final scene. Performances are outstanding. The fact that the entire premise mostly hinges on the work of two small girls will blow you away. It is no wonder young lead Sienna Sayer won the Special Jury Rising Star award. Martyrs Lane will hit harder for parents. Any story centered around children begets that internal ache from the very getgo and Martyrs Lane is no exception. It’s beautifully shot and elegantly lit. The exquisite progression in makeup heightens the overall dread. It speaks to the consuming power of grief and secrets. I cannot wait for Shudder audiences to experience this film in a few weeks. This one is special. Undoubtedly, one of my favorites from this year’s lineup.
The film’s final scene is so abrupt it’s actually irritating. This is clearly a massive plot point that is given but a moment, and that moment is the end of the film? That’s a ballsy way to, perhaps, set up a sequel. You must already have the audience on your side for that to succeed. The film is like taking every season of Ryan Murphy‘s American Horror Story and mashing them together with zero explanation. There is no consistency in the screenplay other than Marianne’s “take no shit”, anti-slut-shaming, mom-boss attitude, and Linus’ vile weakness. When you finally get to the supposed outcome with daughter Adelaide, it screams The Haunting of Bly Manor. The overall look of the film is undeniably gorgeous. Some scenes contain viscerally jarring imagery. Ultimately, Shudder subscribers can decide for themselves whether it’s overstuffed or if we’re more in a 13 Ghosts territory. You could give it a pass being that it’s based on the true story of the most haunted house in England. In my opinion, The Banishing deserves to be fleshed out as a series. Show up for the performances, the set, and the cinematography, and let me know what you think once the screen goes black for good.
Shudder continues to kill it with its original content. SHOOK pokes fun at the people we love to hate but cannot get enough of; Influencers. In a world where every minute detail is curated for an audience, i.e. for-profit, losing control is the biggest fear.
The colors in the film are striking and very on-brand for influencers. Bright pink and blue hues establish a cohesive theme. The editing is incredibly creative, mixing screen views, live streams, projections, and most thought-provokingly Mia’s anxiety manifested imagery. The backstory is an emotional stronghold and the introduction of a local serial dog killer is sort of the most ridiculous but perfect setup. By now we all know killing animals is a sign of a sociopath so we have an idea that even outside the influencer angle Shook has crazy potential, very much pun intended. The terror factor comes in the form of psychological trauma to the nth degree.
Daisye Tutor as Mia strikes a fantastic balance between self-absorbed and vulnerable. You’re rooting for her despite her hideous tendencies. Fans of Scream, Saw, 
This cast’s chemistry is unreal. Adam Pally is mostly on the receiving end of tongue in cheek jokes when he’s usually the one dishing them out. Watching him volley with Anna Camp is pure Christmas magic. Accompanied by a phenomenal ensemble featuring Pete Burris, Frank Nicotero, Derek Russo, and perhaps the most spectacular of them all Candy McLellan. You will fall madly in love with her! Cast her in all the things immediately, please and thank you. Of course, the larger makeup FX are masterfully reminiscent of the original series; very 80’s campfest. The final twist gives up an epic showdown that only rings true in the Creepshow realm. While this episode is less frightening than funny, it’s an awesome holiday treat. I for one am looking forward to the release of Creepshow Season 2 in 2021.
This is truly a peek behind the wizard’s curtain. The most shocking part of the in-depth conversation with William Friedkin is where he admits what was planned and, more strikingly, what wasn’t. He was often flying by the seat of his pants, but you can tell by the passionate way he describes his process that there was more planning than we can ever imagine. He uses music as a device in directing. In the doc, side by side juxtaposition from other iconic films and scores make his point perfectly. The editing makes you want to have The Exorcist on another screen to experience the full moments that are being referenced in snippets. The meticulously placed subconscious effects on the audience are profound. Once they’re explained, they will blow your mind.
Friedkin’s believes that every moment surrounding the creation of The Exorcist was fate. From getting the book to casting choices, to existing shooting circumstances in Iraq. He uses art to inspire the look of scenes. Discovering the painting that is responsible for the iconic cover art takes your breath away. The battle over the score is nothing short of epic. For someone who boasts about asking for one or two takes, his obsession with the minute details will astonish you. Friedkin is pretty much a mad genius. He explains how his faith had to be separated from the job. The philosophy behind the story is what solidifies the meaning for him. While this is solely Friedkin’s perspective, and we know the permanent physical and emotional damage on Linda Blair and Ellen Burstyn, hearing so much detail from the director’s mouth, his creative process, and the effect the experience had on him is nothing short of fascinating. You don’t have to be a fan of The Exorcist to completely love this documentary. The insight on what goes into making a film come alive is gold unto itself. For genre fans, in particular, it’s magic.
I think sometimes people forget about the importance of sound and score. In horror, they are like an unseen character. In the opening of The Dark and the Wicked, sound and score put you on edge before the title appears on-screen. Christopher Duke, Joe Stockton, and Tom Schraeder, alongside writer-director Bryan Bertino carefully craft that feeling of uneasiness you want in a genre knockout. The premise is relatable enough, to begin with; a brother and sister return to their home as their father lay dying. Something is wrong with their mother. She tries to tell them but can’t quite express what’s invading her house. This plot gets more and more upsetting as clues are revealed. It made my skin crawl.
Stand out performances from Xander Berkeley, Tom Nowicki, Lynne Andrews, and Julie Oliver-Touchstone must be acknowledged. They are all key in the build-up to a shattering finale. Michael Abbott, Jr. is a great foil for Ireland. Their relationship feels very genuine. Marin Ireland is magnificent. The fear in her eyes is everything we feel. They portray the pull of family obligations to perfection. The Dark and the Wicked is one of the most atmospherically disturbing films of 2020. The colors and lighting scream bleak and ominous from the get-go. Smartly used tropes like spooked animals, doors opening themselves, and body horror mixed with ghostly visions let us know things are clearly not okay in this house. The practical fx are gruesome. The build-up is a bit reminiscent of Relic. Long lingering shots get under your skin. Alongside that keen sound is sharp scene editing. It creates small jump scares that have a massive overall impact on the mood. The film relies heavily (and brilliantly) on what you don’t see just as much as completely messed up, mind-bending imagery. The Dark and the Wicked succeeds in creating an unsafe space that is undeniably horrifying. This film literally made me shiver. It is a quick descent into spectacular terror.
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The performances are outstanding. Truly scary shit. Kyle Gallner as Drew is the good guy, the brains behind the operation. His dedication to Max and Lane may be his ultimate downfall. Gallner is deep in this role, which is no surprise. I am a huge fan of his eclectic body of work. This is no exception. Ryan Guzman as Max is the perfect self-obsessed asshole. Guzman plays the victim very well but walks a phenomenal line between the need for attention and contrition. But it is the performance from Alix Angelis that is fully immersed in terror and sheer brilliance. The entirety of the film’s success is driven by her insane work, and I do mean work. She must have been exhausted after every take.
The practical fx missed with the sound editing made me almost vomit. It took me way too long to catch my breath. The look of the film is spot on. The camera work is cool as hell. But it is the storyline that will suck you in. The entire plot is centered around confession. This demon is looking for something very specific and until then, it will torture and kill until it is satisfied. I could not tear my eyes away from the screen even when I wanted to. Writer/director Damien LeVeck and co-writer Aaron Horwitz know exactly what they’re doing. The social commentary is unmistakable. The Cleansing Hour is full tilt, batshit crazy. The ending… you’ll never see it coming. Stay. Through. The. Credits.
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