Share a Christmas movie #filmsky

appreciation post for Kathleen Turner’s blue dress in Ken Russell’s CRIMES OF PASSION (1984)

The Face of Another (🇯🇵 1966) dir. Hiroshi Teshigahara

Night of the Demon (1957), Jacques Tourneur // Messiah of Evil (1973), Willard Huyck & Gloria Katz #sidebyside #horrorhallways #horrorsky #filmsky 📽️

I wrote this collection of short stories inspired by classic radio horror shows, series like One Step Beyond and The Twilight Zone, British ghost stories, and my general predilection for the macabre. It really seems like the time of year you should be reading it*. *Other times of year are available

Convince me this isn’t Parker Posey. You can’t.

Contributor copy arrived! Very proud to have penned and narrated a visual essay for this exquisite Umbrella release of perhaps the most frightening, viscerally enthralling serial killer flick ever made—Gerald Kargl’s ‘Angst’ (1983). Order yours here, if you dare: bit.ly/43Va1Wu

Contributor copy arrived! Very proud to have penned and narrated a visual essay for this exquisite Umbrella release of perhaps the most frightening, viscerally enthralling serial killer flick ever made—Gerald Kargl’s ‘Angst’ (1983). Order yours here, if you dare: bit.ly/43Va1Wu

‘Halloween’ reshaped as European arthouse, the bold, rebellious ‘Revenge of Michael Myers’ mightn’t be everybody’s cup of pumpkin spice, but, through its deviant disposition, majestic visuals, outré perfs, and chilly air of menace, it concocts a fascinatingly playful postlude to the prosaic part 4.

A product of the halcyon days before the slasher formula became set in stone. You can see the influence of Argento and Carpenter on CURTAINS, but the movie also borrows from 70s psychodramas. The whole affair is scrumptiously loopy, never more so than in a kill involving ice skates and a scythe.

Hooper’s ‘Toolbox Murders’ remains one of the truest evocations of drive-in horror cinema since bell-bottoms were the zenith of style; a fiercely efficient slasher flick built not on pastiche and postmodern snark, but an enticingly peculiar mystery, solid perfs, and a dense air of inescapable dread.

Hooper’s ‘Toolbox Murders’ remains one of the truest evocations of drive-in horror cinema since bell-bottoms were the zenith of style; a fiercely efficient slasher flick built not on pastiche and postmodern snark, but an enticingly peculiar mystery, solid perfs, and a dense air of inescapable dread.

You want an out of favour opinion? I got one. I don't think anything from the past should be censored. By all means present a disclaimer or a this is how it was but let everyone see it and stop being so hectoring and censorial. You never know how the future will look upon us in all our imperfection.

«When you sleep, your face goes slack... and your mouth is swollen and ugly. There's a nasty wrinkle on your forehead. You smell of sleep and tears... and I can see the pulse in your neck. There's a scar there that you cover with makeup.» Persona, Ingmar Bergman (1966)

#31DaysofHorror Day 12 LURKERS (1988), Roberta Findlay Cathy is haunted by her childhood; but also hulking sledgehammer swingers, malformed malignancies & nonoperational phones--all tangential to the true horror of going home when your home is hell's front stoop & your fiancé is a crappy satanist.

Four creepy bedrooms: The Cabinet of Dr. Caligari, The Night of the Hunter, Red Desert, and The Parallax View. The frames are theatrical, artificial; the characters trapped within a construct, a pathology, dogma, shadowy conspiracies, or (in the case of Red Desert) something more nebulous.

The sea has a laugh And the cliff a frown; For the laugh of the sea is wearing him down. —Herbert Ashley Asquith, “The Frowning Cliff” ‘Messiah of Evil’ (1973) / ‘The Fog’ (1980) #SideBySide 1/3

#FrancoFriday Soledad Miranda in Vampyros Lesbos (1971)

#Shocktober Slumber Party Massacre II (1987) - bit of a mess but holy shit, when it’s good it’s GREAT. And I mean when the movie is hijacked by the spirit of toxically masculine rock and roll. Atanas Ilitch is an absolute delight and his musical number is a 10/10, a slasher for the ages.

Dementia (1955) is a dialogueless fever dream film about a woman's nightmare experience on a single night in LA. Made a decade too early to be a hit, it's a mix of German expressionism and American noir and closer to 60s films like Carnival of Souls and Polanski's Repulsion. It's worth an hour of

Head Trips & Ruby Slips: ‘The Haunting’ (1963) / ‘Return to Oz’ (1985) #SideBySide 1/3

I am stoked to announce that I wrote the booklet for @vinsyn.bsky.social 's upcoming release of BERBERIAN SOUND STUDIO. I wrote about the way giallo films use experimental music and sound and how director Peter Strickland deconstructs those elements in his film. vinegarsyndrome.com/products/ber...

I remember having the absolute fucking cheek to call it a “cult classic” on a certain message board circa 2001/02. The amount of sneering vitriol I sustained from know-it-all horror nerds was crazy. I laughed then, and, with the profuse outpouring of love it’s since gotten, I’m laughing now.

I remember having the absolute fucking cheek to call it a “cult classic” on a certain message board circa 2001/02. The amount of sneering vitriol I sustained from know-it-all horror nerds was crazy. I laughed then, and, with the profuse outpouring of love it’s since gotten, I’m laughing now.

"mesmerises the viewer with its overlapping tales of toxic Tinseltown": David Lynch’s self-produced, self-distributed epic of oneiric uncanniness INLAND EMPIRE (2006) is now on MUBI UK & Ireland projectedfigures.com/2023/04/26/i...

RIP Renato Casaro Master poster artist & designer. 1/3

Of the multiple gifts ‘Ed Wood’—Burton’s best—bestowed upon us, Martin Landau’s messianic mirroring of Bela Lugosi was the biggest: a feat of thesping so rich, so marinated with poise, intellect, humour, and heartache, I doubt even Lugosi himself would’ve dared fault it. Released on this day, 1994.

A moment’s silence please for the terrifically accomplished Curtis Hanson (March 24, 1945 – September 20, 2016), whose decade-long deluge of thrillers—running the gamut from seriously good to god tier—yielded some of the late twentieth century’s most scrumptious cinematic pulp.

Mommie Dearest (1981) Dir. Frank Perry- How to view the biggest mother of them all? First- it’s always been camp; second, Dunaway is truly fantastic; third, just have fun. Critics be damned—this is over-the-top, committed, and insane. Proceed with care. It's crazy and silly but does portray abuse.🎞️

SURPRISE! I contributed a commentary and essays for this upcoming Umbrella release of TOURIST TRAP.

The Bat (1926) was believed to be lost for decades until a print was found in the 1980s

Fuck you, hot choccy. Didn’t want you anyway

The sea has a laugh And the cliff a frown; For the laugh of the sea is wearing him down. —Herbert Ashley Asquith, “The Frowning Cliff” ‘Messiah of Evil’ (1973) / ‘The Fog’ (1980) #SideBySide 1/3

Rlsd #OTD 1981, ‘Mommie Dearest’ may falter as a biopic, but Dunaway sparkles as its focus. Her fierce rendition of JC has permeated pop culture for aeons, becoming a drag queen linchpin; yet, despite the screwy histrionics, it’s a perf full of light & shade—as this bygone love note of mine attests:

Rlsd #OTD 1981, ‘Mommie Dearest’ may falter as a biopic, but Dunaway sparkles as its focus. Her fierce rendition of JC has permeated pop culture for aeons, becoming a drag queen linchpin; yet, despite the screwy histrionics, it’s a perf full of light & shade—as this bygone love note of mine attests:

When I heard about the new documentary on EXORCIST II: THE HERETIC that premiered in Venice, I had to talk to its director @davidkittredge.bsky.social immediately. Today in The Reveal, he talks about the making, unmaking and revival of this one-of-a-kind sequel: thereveal.film/interview-da...

Post a horror movie everybody should see.

Post a movie you *love* with a terrible Rotten Tomatoes score…

Norman Bates made him a megastar, but Tony Perkins (d. 12 Sept 1992) was anything but a one-trick pony. An actor of great scope & depth, he could stir a rainbow of dispositions—funny, naive, aloof, dark, psychotic—with just the flicker of a grin or the raising of a brow. Devastatingly gorgeous, too.

Norman Bates made him a megastar, but Tony Perkins (d. 12 Sept 1992) was anything but a one-trick pony. An actor of great scope & depth, he could stir a rainbow of dispositions—funny, naive, aloof, dark, psychotic—with just the flicker of a grin or the raising of a brow. Devastatingly gorgeous, too.

Mariano Baino’s Lovecraftian nunsploitation Dark Waters (1993) is tuned EXACTLY to the shifting in Italian horror Michele Soavi created with The Church (1989). Mesmerizingly dark and deliriously rancid with otherworld implication in its candlelight orange caverns and claustrophobic Catholic cancer.

In Pabst’s Secrets of a Soul, experiences are replayed – when described to a psychoanalyst – against blank white backgrounds, and in a heightened form. The woman crying for help from a window looks directly at us, and she cries out from a void into which we can project our own fears.

All of Them Witches: ‘Suspiria’ (1977, Dario Argento) / ‘Terror’ (1978, Norman J. Warren) #SideBySide 1/3

I’m watching The Grapes of Death (1978), my first Jean Rollin (his vampire flicks have been on my list for ages) and I’m pretty delighted that, the French fantastique aside, he’s kind’ve what you’d get if you smoothied Michelangelo Antonioni and Jesús Franco together?

Been watching Sunset Blvd., which has a deep creepiness, beneath the insider references, the poverty, and the rotting glamour, that nothing else has ever quite matched.

Giuliana, in Red Desert, stares out of her window at the Ravenna docks, as her story of the paradisal, pink-sanded beach fizzles into oblivion. This is not a simple contrast between fantasy and reality. Giuilana’s grey depression is latent within, and emerges out of, her self-deconstructing dream.

Nice li’l haul. 📚 #Booksky

If I were making a film series about so-called paranormal investigators, who most people say were con artists, and I wanted audiences to believe they WEREN’T con artists, I probably wouldn’t have put “CON” in the title. But maybe that’s me.