I’ve found a lot of proto-slasher giallo films are still engrossing today due to not only the cinema-history lesson but also the stories and craft.
“Sinners” builds up its portrayal of 1931 life for black folk in Mississippi so well that when a bigger cinematic threat comes along, it’s a
Asia Argento gives Schrodinger’s Performance in “The Stendhal Syndrome” (1996): She’s simultaneously excellent and totally miscast. She plays Anna and carries us through the film
I don’t quibble with endings as much as some viewers do; if the buildup is excellent, I’m lenient. But wow does “The House on Sorority
The “Fear Street” movies are the height of disposable slashers, but even so, it’s remarkable how disposable the characters are. These are the kind of
Dario Argento’s only full-length American production, “Trauma” (1993), is also his best movie that never gets talked about. It still has the Argento formula of
“The Old Ways” (2020) is an old story about a journalist who treads where she is warned not to tread and suffers the consequences. If
Edgar Allan Poe is the godfather of both the horror and mystery genres so it’s appropriate that filmmaking friends George A. Romero (the “Dead” series)
Anecdotally, this looks like the most loaded summer of movies in a long time, possibly ever. The big franchises are supplemented by surprising legacy comedy
By the time of his ninth film in the horror-thriller genre, people knew what to expect from Dario Argento, but he has that knack –