Twitter Review: Masters of Horror: Imprint
Blocked in the U.S., Miike’s ‘Masters of Horror’ episode is primal and fascinatingly transgressive, but the acting might be most horrifying.
Blocked in the U.S., Miike’s ‘Masters of Horror’ episode is primal and fascinatingly transgressive, but the acting might be most horrifying.
Retro horror ‘House of the Devil’ is so patient and sublimely creepy that it’s easy to forgive its ultimate silliness. An assured throwback.
Creepy but generic, an otherwise austere ‘Paranormal Activity’ would have unsettled more sans the extra-diegetic rumble conditioning viewers
It’s messy and too telegraphed, but ‘Thirst’ employs vampirism probingly, is anchored by two great performances, and is disgustingly funny.
Primally repulsive and sad, ‘Grace’ is an honest, thorough metaphor for early motherhood, and clever and light with its icky cryptic horrors
‘Drag Me to Hell’ has expert touches (the handkerchief/car bit) but Raimi mostly revels in fun, repulsive, throwaway visual/aural aggression
Instead of generating yet another list of 20 or 50 or 100 great horror movies for Halloween-viewing consideration, I tried to approach the task a little differently. My original plan was to present many movies in various horror subgenres with different labels (“under the radar,” “fashionable but worthy,” “classic,” and “could do without”), but I realized I was mostly repeating myself. So instead, I offer one movie in each of 10 horror divisions, with some effort to avoid the obvious, everybody’s-seen-them choices. A director can only appear once on the list.
Stripping the vampire flick of baroque affectations, del Toro’s ‘Cronos’ is simple but rich, concerned with addiction, corruption, and aging
Zombie’s ‘Halloween’ purveys trite backstory, poorly mimics iconic moments, and jacks up the T&A, but it finds in its final moments a voice.
The narrator of The Little Stranger would tell you that this tale is about grave misfortune, not a haunted house. His name is Dr. Faraday, and in Sarah Waters’ agonizingly patient gothic novel set in post-World War II Britain, he has a dismissal available for any odd happening at Hundreds Hall. You’re tired. It’s an old house. Those must have been there for years. He seems the opposite of the classic unreliable narrator – he’s too reliable, and at points in the book he so tediously rules out the supernatural that you want some apparition to shove a hot poker up his ass. If this sounds like a criticism, it’s a mild one, as this is surely the effect that Waters sought, anatomical specificity aside. Faraday is so sane and logical that he has no credibility in the context of this story.