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Been playing some serious catchup on 2025 horror releases in the past few weeks. Drop, while not trying to do anything genre bending, is a well acted, formulaic horror-thriller with a dose of campy tension. All in all, Meghann Fahey and Brandon Sklenar are a surprisingly watchable pair, and it was fun for what it was. 

I will say, that Blumhouse money certainly makes things feel a little more elevated than the average horror film, because Drop could’ve been awful on a cheaper budget. It’s noteworthy when contemporary movies actually address and use technology instead of using the new hammy standard “okay everyone hand over your phones” moment. Christopher Landon is able to weave airdrop messages and memes into the foreground rather cleverly, toying with your sense of reality in the process. 

Not one I’ll rush to rewatch, but we had a good time. 
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Another heralded film that’s been on the watchlist for a decade plus, especially knowing that Martin Scorcese’s 2007 Best Picture Oscar winner The Departed is a relatively faithful remake. Countless artists have gushed about its influence and vision over the past 20 years, and Andrew Lau’s epic crime drama still plays phenomenally, making for an excellent Sunday Criterion pick. It’s near impossible not to compare the two films, but Infernal Affairs owes more to Hong Kong action cinema’s kinetic dynamism and in your face editing style than its US counterpart, creating a stronger visionary accompaniment to its storytelling. 

At 100 minutes, Infernal Affairs works with a much more lean, economical script than The Departed’s drawn out character and world building. Andrew Lau’s story operates more within the confines of conflicting criminal pathology, opposing that of Scorcese’s more grounded acting, sound design and gritty execution. If there was one thing keeping this from 5 stars in my eyes, it would be the tone in which Chan Kong-wing scores things, even with it being specifically crafted for Lau to enhance its dramatic atmosphere and tense plot. Musically, things come across almost like a TLC/Lifetime movie when observed in 2025.

But I digress… 

Said it before and I’ll say it again: Hong Kong action cinema fucking rocks. As I’ve consumed more Asian film in the last year than ever before, an entirely new cinematic world is opening before my eyes. And it’s so damn cool. 
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While I’m fully enamored with the early Toho produced Shōwa era films (especially the first), as I’ve been doing a little more Godzilla franchise research, I’ve become painfully aware that I’ve missed most of the Heisei Godzilla period. Each era of Japanese Godzilla films carries its own feel and personality, reflecting the accompanying social and political climates of Japan, and 1984’s The Return of Godzilla sees a narrative return to the 1954 version’s allegorical warning against weapons of mass destruction. To me, the Godzilla stories have a much more poignant message when delivered through this lens, and as the Heisei era contains some of the most critically acclaimed films in the series, I’m chomping at the bit to get through them. 

Initially, there are some genuinely tense, horror leaning moments as opposed to the less threatening playfulness that became the norm directly before this. Rotted corpses, knife wounds and radioactive sea louse featured in the opening 20 mins set the tone that this is a departure from the bumbling superhero vein that had become the Japanese staple. Koji Hashimoto’s monster design looks closer to the original, in contrast to the playful Toho depictions, and while suit acting feels a bit out of place as we move into more modern filmmaking techniques, it’s a decent return to form for my favorite radioactive reptile. 

Cinematography wise, there are some impressive large scale cityscape shots that add that epic sense of grandeur expected in Kaiju cinema. The Return of Godzilla is a great reboot and introduction to the Heisei era. Excited to get into the “Godzilla vs.” portion of these.
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The smallest part of me thought I might be one of the few to not think Sinners would be a masterpiece, seeing all of the 4 & 5 star reviews roll in for the past few months. Nah. Ryan Coogler draws on his big-budget blockbuster experience, coupled with an artistic flare I wasn’t fully conscious of, to put together a masterful film. Sinners combines a number of cinematic aesthetics into a production that feels so familiar, yet so unique all at once. A large amount of incredible discourse, and so many amazing reviews are already out there, and I don’t think I can add too much to the pile aside from a hefty amount of praise... which I will gladly give.

Music and sound is crafted so meticulously and symbiotically along with the rest of the film, while still standing tall on its own. Ludwig Göransson’s score pulses as the heartbeat of Sinners, and with names like Buddy Guy, Brittany Howard, Cedric Burnside and James Blake contributing to its soundtrack, it’s easy to feel how much heart and time was poured into that aspect. The only other work I can compare such a creative use of music to would be the Coen brothers’ O Brother, Where Art Thou, but even that feels disingenuous to do. Sinners is its own brand of special. 

Sinners is so many genres successfully and artistically rolled into one, and does each so well. When it’s a drama, the storytelling and acting is academy level; when it’s horror, the practical effects gore and built tension are top notch. Jfc this remind me why I love movies!

I can feel better about my 2025 Ranked Horror List now having finally seen the most buzzed about film this year. 
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ittedly, I didn’t have the highest of hopes for anything genre defying going into The Ritual (by the way, how many films carry that title now?). I wrote that sentence as I sat in a very comfy, worn-in, AMC auto-recliner for previews. As credits rolled, I reluctantly it that that intuition proved correct. Even at an expeditious 96 minutes, The Ritual feels long in the wrong places, rather than lingering in its occult spookiness. If you’ve seen any number of exorcism inspired films, you’re not missing anything by skipping this one. 

Al Pacino, while so far from giving his best performance, does most of the lifting when it comes to selling David Midell’s all too familiar religious horror tale. Things mostly swim around in mediocre, previously explored cinema trope territory, resulting in a movie all too likely to fade into obscurity by year’s end. 

Technically speaking, and especially for a big budget film, things are a mess. Some very 90’s horror, flash-jump editing disorientingly distracts from The Ritual’s most tension-laden scenes between Abigail Cowen, Dan Stevens and Pacino; turning them into yet another sloppy, frustrating piece of its puzzle. Things just creep along a bit too slowly without the heavier religious anxiety and scares that could’ve made it a little more worthwhile. Bummer. 

Loving AMC Stubs A-List though. It’s cool seeing movies in theaters i normally would wait until streaming for. The Ritual definitely would’ve been one of them. 
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Just started a sub of Screambox, and thought it’d be fitting to kick it off with one of their 2025 exclusives Project MK HEXE. It’s a hair-raising, and at times fresh spin on faux documentary found footage fare. Or maybe, a faux documentary about found footage? Still not entirely sure how to best describe its genre conventions. There are some interesting horror subversions with an ambitious government-conspiracy-meets-mind-control-cult leaning plot that kept things interesting for as long as it could. Ultimately, Project MKHEXE is an ambitious VOD project, with a decent budget of $500K, that ends up lost in its own trappings, and convoluted web of mystery. 

Its initial half is played closer to an alluring Netflix true-crime conspiracy doc, unraveling like a Russian doll as multiple horror-tinged plot pieces fall together rather deftly. It makes for an easily watchable opening. On top of that, its actual horror elements are genuinely unsettling. Had me on edge more than a few times. I will say, the documentary aspect plays quite clunky behind a few acting performances that don’t quite ground things in believability the way an effective found-footage can.

Big disclaimer: If you have any photo sensitivity Project MKHEXE serves up an overwhelming dose of vibrant, strobing color. As a former 2010’s raver, I’m usually not bothered by pulsing light, but even I had a hard time when its TV hypnosis effects took center stage. 

Last gripe… in what world does this need to be a 2 hr runtime? I think we are going to get some good stuff down the line from Gerald Robert Waddell, and it’s  every bit a worthy big screen debut, but there are just a few too many aspects that see Project MKHEXE get swept up in its own ambition, without the full payoff i’d hoped for. 
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p.s. Excited to get into Screambox some more this month, they’re already in my horror heart by hosting my wife’s onscreen horror debut in 10/31: Part 2.

Well I certainly can’t say I’ve experienced another film like this. What a delightfully wacky, charmingly dark little film House is. Another gorgeous, surreal J-Horror off of Letterboxd’s Top 250 Horror Films that feels so far beyond its release year of 1977. I would say this just sort of brushes the edges of horror, yet adeptly flirts with so many other genres throughout. And holy cow the color palette vibrantly pushes through its very 70’s visual effects for a visual tone still standing tall nearly 50 years from release. 

For a plot centering on a paranormal house and matriarch chopping, dissecting and juicing its inhabitants into blood, there’s such a playfully bonkers musical accompaniment. Almost fairytale-esque in its nature at some points, 70’s Kung-Fu leaning for moments, and acid-trip psych-rock heady at others, music serves an integral role in House’s tone and feel. And for this writer, it’s a sure fire way that I’ll be engrossed in its whimsy. 

Coming away with a bleeding adoration for the playful, ghostly levity to this film. Like… I can’t think of another time a decapitated head made me chuckle so hard! Each character -and there are quite a few- is an individual trope themselves, but manage to feel so natural as an ensemble at the same time. Would 100% watch a spinoff with Blanche the kitty, Mac & Kung Fu. 
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Had pretty high hopes with this one, as Tucker & Dale vs Evil is one of my favorite horror adjacent pieces of media of all time. So when I saw Eli Craig was at the helm, I couldn’t help but have a few lofty expectations. And with the friggin great title of Clown In A Cornfield, I expected a bit of a harder turn into its gore and practical effects. Walking away entertained, but thinking they could’ve knocked it outta the park if they leaned into its stronger points. I’ve heard the book series is a fun read.  

Clown In A Cornfield does have a fair share of genre subversions up its sleeve, but I can’t help but feel that production towed the line a bit too much rather than leaning more towards humor or horror. The dialogue stays pretty tongue in cheek, and while it may think it’s funnier than it is, it pulled more than a few smiles outta me. I mean it’s got Will Sasso, and Kevin Durand turning in over the top performances, that alone was worth the ission. 

Story wise, we get another take on an increasingly elderly, bygone era that can’t accept change threatened by a hopeful, bright-eyed generation. We’ve seen it. And on that note, it really doesn’t serve its viewer to think about any character logic behind countless moments and plot holes here.

We do get a decently effective slew of kills with Casey Markus driving the effects, while clearly having some fun with a schlocky premise. I don’t think people explode like water balloons full of red paint when they get hit going 20 mph in second gear though. Just saying. 

I’d watch a few Frendo sequels.
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Another recommendation from multiple friends. Kiyoshi Kurosawa’s heralded film is awash in hypnotic dread and procedural tension, while being devoid of most typical horror conventions. Cure uses sound and silence to lure its viewer into a bloodily terrifying little slice of macabre filmmaking. Really enjoyed this one, and am getting some serious film education in as I get further through Letterboxd’s Top 250 Horror Films. 

Koji Yakusho delivers a near flawless performance as Detective Takabi, while Masato Hagiwara serves a strangely delicious brand of onscreen evil, reveling in his role as an excellent counterpart. There’s just something about Japanese cinema and acting that constantly delivers the goods for me, especially here. I wasn’t ready for some of those one-take eerie, bloody moments though, good lort.

So happy to get a first time viewing of Cure, and am so ready to add some more Kiyoshi Kurosawa to the list. 
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Shudder originals are something I greatly look forward to, and The Surrender is another watchable entry into their growing catalog. There are obviously going to be reviews about this one being yet another in the wave of grief laden, slow burn horror, but I think things stand apart enough to warrant a viewing. 

My word though. When it comes to characters, The Surrender is rife with mother-daughter, entitlement fueled trauma dumping, certainly playing on those familial dynamics we’ve seen so much of in the past decade. That part was hard for me, but things are well played enough by Kate Burton and Colbie Minifie, to pull me through. I will say, it was like pulling teeth spending any amount of time with them in the first half of the film. Ultimately though, there’s enough gruesome imagery, and body horror to bring things to a tension filled climax that I had to appreciate. 

Between this, Bring Her Back and the The Ritual, things might be a little saturated in the “occult dead person revival” genre lately, but I’d say give it a go if you get the chance. Nice little Saturday Scary.
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Needed a gorgeous little change of pace after being filled with existential dread watching Bring Her Back in theaters late last night 😭

Once again, I’m floored and mesmerized by the look, feel, sound and storytelling of Wong Kar Wai’s films. In the Mood For Love carries a tactile, lived in quality, thrusting its viewer into the headspace and hearts of such intricately written and acted protagonists. There’s a subtlety and restraint to the story, akin to a slow morphine drip, completely intoxicating you into an overtly honest look at forbidden love and emotional dynamics, while leaving you wanting a bit more upon its abrupt end. 

Sound and music fill a beautiful role. Spanish versions of Nat King Cole, and haunting string arrangements play so well in the world of In The Mood For Love, adding a a sonic layer that only serves to enhance its entrancing effects. 

Wong Kar Wai’s ability to capture emotions and feelings whilst also authoring a constant flow of incredible shots is nothing short of insane.

Wow, what a follow up from the Philippou Bros. Bring Her Back is a mindfk of a horror trip that slowly unravels into insanity. Both of their films carry an unconventional terror about them, but Bring Her Back eschews most of the playfulness found in Talk To Me. And good grief does it work. 

The sound editing, which is squishy and visceral, coupled with some downright horrifying visual effects gore had me and most of our theater squirming. I’ll keep it short and spoiler free and hopefully get a rewatch and deeper review in down the line. I’ll just end by saying, go see this one if you get a chance.

AMC Stubs A-List first watch. A monumental day and a monumental 2025 horror picture. 
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Troma Team does a teen movie and it’s every bit as bonkers as you’d think. Class of Nuke ‘Em High is a film I’m rating solely on nostalgia and personal enjoyment. 

I mean… I love everything about this movie (except for some uncomfortable slurs and that small bit of gun violence in the school played a bit too realistically to age gracefully). So many of my preferred visual aesthetics and penchant for hilarious, campy onscreen violence came from the vast amounts of Troma Team releases consumed in my teen years, and Class of Nuke ‘Em High still holds up as a fun throwback. Always fun to revisit a movie from your youth and see how it ages.

The soundtrack, fk yes. The “Nuke ‘Em High” theme by Ethan and the Coup is still a straight up heater. Then, a groovy synth creeps around the rest of what I would loosely call its score. Lloyd Kaufman has always had a knack for adding punk and alternative style into his lengthy filmography, and Nuke ‘Em High might be my personal favorite as far as wardrobe and music goes as well. 

If you like gory B-movies and have never watched a Troma movie before, this wouldn’t be the worst entry point and remains a Top 5 in the vaunted studio’s library for me. Two questions: How do I find that nuclear greenery? And where on this green earth can I find a Tromaville High letter jacket?
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Another solid recommendation from a couple horror homies. No matter how many highbrow classics and “elevated” horror films I’ve taken in, I’m still a sucker for found footage/pseudo- documentary horror fare. Lake Mungo does the genre well. Joel Anderson’s film is scary in a way that stories shared between friends in a dark room can be, relying on vivid s of a grim story sold well by its cast, rather than brutal imagery. 

There’s an impending sense of darkness lurking throughout its setting and plot, and a surprisingly artistic touch given to what has become a trampled genre. Our story plays out almost as a “making of” ghost story, using a well crafted and circular narrative to dramatic effect… for a found footage horror flick.  

I found myself fixating on how Joel Anderson has never made anything else, as there’s a pretty slick filmmaking sense to Lake Mungo. The plot hurtles  forward through well acted interviews, without losing its viewer through exposition dumps, clocking in at a quick 87 minutes. Things come together and work out for some more than decent, fairly disturbing found footage fun. 

Going in with low expectations pays off again. I was pleasantly surprised how well each character plays their part in Lake Mungo, and you can feel both cast and crew contributing to a standout horror debut (and maybe final film) from an absurdly enigmatic filmmaker. Good stuff. 
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So geeked to log my first Masaki Koboyashi film, and get to experience why he’s regarded as one of the greatest filmmakers of all time. With such restrained dialogue, Kwaidan might be the epitome of the phrase “a picture is worth a thousand words”. There’s a haunting thread -both visually and narratively- tying all four ghost stories in Kwaidan together, themselves ancient Japanese folk tales, and an attention to detail rarely seen in cinema history. 

The scale and creativity at which Koboyashi chose to craft this epic tale is not lost on me. So many things had to go right just for this film to exist, let alone in 1964, as it relies on a blend of both natural and manipulated lighting, and epic set pieces to stunning effect. Just look at any one shot if you’re even remotely a film fan and try not to feel something. Visually insane, and transcendent, while its acting and sound design is played as straight as an arrow. It’s easy to see why Kwaidan is so widely acclaimed. 

Sunday Criterion pick in the books and it was a blast. Another great one off of Letterboxd’s  Top 250 Horror Films as well. Albeit I did have to split this up over the day using its intermission. Thank you Masaki. 
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Bringing it back to some nice, cozy, classic fun with the Godfather of Gore, Lucio Fulci’s seminal 1979 film Zombie (or Zombi 2, or Zombie Flesh Eaters, whatever). A near perfect pairing for a drizzly Sunday evening in the Mile High City, Zombie is still a biting, practical effects spectacle that plays well all the way in 2025. 

What an artistic display of goopy, fleshy effects work here by Gianetto Di Rossi. The eyeball scene. Good. Lord. And Fulci’s expertly crafted tension ratchets that scene to excruciatingly visceral levels. Imagine seeing that in 1979? Definitely earns his moniker here, and blood & guts wise most things still look pretty good. And I mean, we get a zombie fighting a shark… and it’s actually 10x more believable on film than that sounds. 

In spite of its off kilter and at times outrageous tone, there’s a surprisingly conscious storytelling weight compared to most other zombie pictures from around this era. And I have to say, its narrative is pulled off quite well despite the very 70’s Italian dubbing and vocal editing. Zombie utilizes a chilling realism to certain beats, which played against subtle campiness, easily helps me see why this is such a cherished horror entry. 

Jeez, I adored the relentless nature of Zombie’s final 25 minutes too. Things get downright vicious, and with Fabio Frizzi’s offbeat score, it’s near impossible not to be drawn into its bleak, but gorgeous atmosphere. Glad to get a helluva good one taken off the watchlist. 

Just some good ol’ fashioned family fun. 
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Great Friday night watch with my cool wife. I like to think that I’m not the biggest fan of rom-coms, yet sprinkle in just a touch of horror style and I was eating it up for most of Your Monster’s runtime. Things fell a little flat for me in its third act and finale, but we still get a great take on the horror-rom-com subgenre, and an excellent debut from Caroline Lindy. 

Melissa Barrera is the beating heart of Your Monster, and I had no idea she was this much of a force, having only really seen her in the last few Scream movies. And Tommy Dewey rocks as the Monster, charming his way through some great practical makeup. 

Excited to see the next Caroline Lindy film. 
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Happy to take such a legendary film off the ol’ horror watchlist with another one I’m kicking myself for taking so long to watch. Dario Argento’s Suspiria is a beautifully colorful, blood soaked nightmare. 

It goes without saying, but the color palette in Suspiria is still striking today. Deep, luscious red permeates much of its foreground, setting a mood and aesthetic all too transfixing; while in its third act blue and green trickle into something more ominous. I seriously couldn’t look away. 

A haunting musical score by Goblin elevates this into an air above so many 70’s horror movies. Staccato synths wrap their way around every piece of Argento’s world, while buried beneath that top line, pulsating drum machines pummel your psyche into a trance. Definitely one of the greatest horror film scores ever. 

Jessica Harper as Suzie Bannion hold things together fairly well, showing a delicate screen command through the lens of a paranoid ballerina in a witch’s coven. Italian horror greatness. I will say, if I had to knock things at all, and I know it’s 1977, it would be the rest of the cast’s performances coupled with some tough sound editing that was hard to stay locked in on at times. Still, more than a watchable film nearly 50 years later. 

Suzie’s amazing technicolor dream film. 
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Another amazing Japanese film off of Letterboxd’s Top 250 Horror Films, Toshio Matsumoto’s Demons/Shura is an expertly crafted, experimental exhibition of insanely gorgeous & gruesome shots, beautiful prose, and grounded acting far ahead of its 1971 release. 

This is perhaps the single best use of black and white I’ve seen in cinema. When it comes to utilizing velvety black shadow and stark light to obscure and reveal, Demons continuously does so at precisely the perfect moment. I paused multiple times just to gawk at how visually appealing this entire film is. There are a few aerial, multi room shots I think will stay in my mind forever. Tatsuo Suzuki’s breathtaking cinematography adds an endless depth to simple dialogue shared between characters, placing its viewer in the same surreal, fked up world. 

Theres an unnerving, sinister quality to Matsumoto’s depicted samurai violence. Demons is a visual freight train that left me slack-jawed at its conclusion, providing some believable, bloody violence among its epic, circular narrative. I can’t even begin to fathom the heart wrenching chaos that I just experienced in the last 30 minutes. Horribly beautiful.

“Just as water dries as the days . Do not worry.”
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Always a treat to get to see big releases in theaters, Final Destination: Bloodlines was every bit the big theater action-horror movie I hoped for. Keeping up with big 2025 horror when i can is proving to be a lovely late-night pastime. 

While basically every single horror family screenwriting trope is at at play, especially estranged family left and right, it allows its viewer to focus on what everyone came for. As it should be, bonkers, creative, and over the top kills were the star of the show and for that I gotta applaud. Fun and elaborate set pieces, which unfold a La the board game Mouse Trap, are cleverly crafted with a clear adoration and appreciation for the original movies. And it’s all handled with a gruesome grace. Those moments lead to some eye popping gore that I wish would’ve strayed just a bit more from CGI, but offered more than enough big-screen eye candy to keep my attention. 

There’s also some genuine meta humor to balance some very bloody visuals, alongside the introduction of a few new storytelling elements that sees Death tracking multiple generations of families, for a wider scope that can keep a few Final Destination sequels coming. And of course, it was an absolute pleasure seeing Tony Todd’s last onscreen role. Genuinely, RIP to an insanely talented legend. 

Great example of mainstream horror done right. I hope Paco ended up in a good home. 
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Forgot how straightforward of a horror flick The Terminator plays. A genuine 80’s sci-fi techno-horror, gleaming with the standard-bearing James Cameron style we would come to devour as a society even today. You can see the trimmings of his future work taking shape here, but with a more raw, artistic edge that stands apart from much of his catalog. 

As I consume more and more visual media (thank you Letterboxd) I realize just how enamored I’ve become with 80’s aesthetics. Needless to say, the visuals are striking for me even today. Wardrobe knocks it out of the park with Arnold’s punky look in the first half (shoutout Bill Paxton), then with his iconic sunglasses & black leather jacket clad look for the conclusion. Even with such slick, noir stylization though, none of this works without a trio of grounded and believable performances from Michael Biehn, Linda Hamilton and Schwarzenegger. Along with James Cameron’s visionary touch of course. 

The Terminator is a film that still would’ve been a phenomenal entry into Cameron’s filmography as standalone entry. Things so easily could’ve been thrown in the sci-fi 80’s heap, but it elevates what could’ve been a rather rote premise, and stands alone. Storytelling is fleshed out, the acting works, and Brad Fiedel’s Carpenter inspired score (Fiedel also scored on of my favorite 80’s films Fright Night) put a nice little bow on things. Still a fun take on the sci-fi slasher genre. 

“Come with me if you want to live!!”
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A very longstanding recommendation from my friend and filmmaker Adam, and it’s one I’ve been excited to watch for ages now. Finally had the chance to experience the warm beauty of Chungking Express, and what a damn treat it was. 

My word is there even one shot in this entire film that couldn’t be screen captured and hung in an indie art gallery? I’m mesmerized, overwhelmed and comforted all at once by Wong Kar-wai’s distinct, nostalgia inducing visuals. 

And the way music guides its loose narrative structure is such an excellent example of using commercial records in film. I just found out that Faye Wong also sings the Cantonese cover version of “Dreams” that plays throughout, and it’s even more gorgeous knowing that fact. 

Part 1 of a Wong Kar-wai b2b with Rhema. 
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Rewatching some of your favorite films feels as if you were to see a live, broadway play for a second time, but from a drastically different seat in the audience. Longlegs is a film that to me, gets even better with the added perspective of knowing how our story unfolds going in, especially the occult elements at play. This time around, I got to sit back and revel in its eerily cool visual style, beautifully staged shots -of which there are too many- and Zilgi’s (who is actually Oz Perkins’ brother) impeccable score with the use of T.Rex played against hauntingly silent monologues. Forewarning, I’m coming away with an even greater infatuation for Longlegs, and I already adored it. 

Longlegs was the movie that got me excited about horror cinema again after years away. It inspired a playful desire to consume as much horror media as I could as research over the last year plus. Watching at home helped me realize how special it was to have first viewed in a packed theater, full of electric buzz and wonder behind the all-out, absurd guerilla marketing assault from NEON. Still never seen a smaller studio picture use social media to this effect to build this much hype before. 

After having also seen The Monkey this year, and on my third Longlegs viewing, I was able to appreciate Perkins’ little touches of humor sprinkled within a very drab, crime-procedural, paranormal horror-thriller. Especially against such a heavy feeling of dread and despair. If you can’t tell, I ate that shit up. 

Each and every character’s performance coalesce to take things beyond typical horror fare into something special and unique. Nicolas Cage’s bonkers, erratic approach to the role as Longlegs/Cobble works with how narratively grounded yet surreal Perkins’ story is. And Maika Monroe is such a weird little powerhouse. Those trauma fueled scenes with Alicia Witt have such profound impact on rewatch. Furthermore, Blair Underwood’s understated turn as William Carter helps move the entire narrative into motion, through a tropey detective character that feels somehow fresh in his hands. I could gush over Longlegs all day, and felt the need to this time around as I was still in my “one-liner” review phase upon my first viewing.

Not a perfect film, but one in which everything works for me. Longlegs authors a melancholy, cool, alluring mood I just can’t get enough of. Top 4 here we come. 

So excited for Keepers later this year. 
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Needed some gory horror-sleaze with less than a 90 minute runtime this evening, and oh boy did I get it with Chopping Mall. 

For an 80’s robot slasher, I wasn’t mad at the casting and performances at all. I do love me some Barbara Crampton, and even the stereotypically hateable characters had a smidgen of charm. Story wise, everything plays out exactly as in its description, but it feels like they still had some fun and wit in the writer’s room.

Exploding heads might be my single favorite makeup effect in horror, and we get a very worthy entry that surprised tf out of me. There’s some decent practical work overall by Robert George, who also worked on the original Terminator. As far as those killer robots however, are they literally impervious to bullets? An AR, shotgun, and .45 couldn’t even scratch them bois with a sea of ammo, or a three story elevator crash and propane explosion, but the paint bomb at the end did them in? 80’s horror logic rocks. 

I was thoroughly reeled in by Chopping Mall’s music and sound design. The score starts a little hammy, but evolves into a borderline outrun synth wave beauty by its end. Sonically, things absolutely fit the theme and tone, leaning on a staccato pummeling of synths and drum machines paired with some laser shooting, neck-slashing bots. 

Good fun.
🤖 🔪 🏢🛏️😵

Watching Korean horror tends to be a monumental undertaking more often than not. However, I’ve never been disappointed after the fact, and that sentiment holds up again with The Wailing. In lieu of the length of this beast, I’ll try to keep the review shorter.

There’s such a distinct visual beauty oozing out of Na Hong-Jin’s work, even when it comes to some fairly heavy gore and makeup. Each ritual is so damn chaotically breathtaking, my heart was racing. The acting, pounding and grating music, striking colors, and overall aesthetics are some of the best sound and imagery I’ve seen in horror cinema. Speaking of heart, The Wailing actually has one, and even offers a few touches of humor among its heavy storytelling pace. 

The Wailing definitely lives up to its namesake though. There was a lot of that.

Getting another great one crossed off of Letterboxd’s Top 250 Horror Movies.
🧟‍♂️ 😈 👮‍♂️

Slowly plowing my way through the fields of Letterboxd’s Top 250 Horror Films.

First time watch on a true classic, and my Criterion pick for the week, Onibaba is a slow-burn, minimalist masterpiece with an explosive climax. Fueled by grief, trauma and famine -quite the triumvirate of horrifying storytelling- I’m blown away how well things stand up from a narrative aspect. 

Onibaba blends taboo sexuality, demons and loss in war torn, feudal Japan, with the perfectionist trappings I’ve come to adore within Japanese cinema. Shindo explores a cinematic voyeurism, nearly a century before we’d see these topics become more mainstream storytelling standards.

Sound design overall is a bit tough by today’s standards, but this score really does ratchet everything to 11 in its final act. Quite the subdued cadence in its musicality, Hikaru Hayashi’s score could work just as well contemporarily, pacing the plot perfectly.

Kaneto Shindo’s shot selection and Kiyomi Kuroda‘s cinematography are so far ahead of their time, it’s truly unbelievable. There’s a slick, artistic dynamism on display in a picture which would shape future J-Horror 60+ years later. Hanya masks used in horror have such a stylish yet unnerving quality, I can’t believe we haven’t seen more of it. 

I never knew tall grass could look so cool. 
👹🗡️🛖🕳️

Doing some weekly homework for the Horror Movie Club pod episode. I very actively try to enjoy, or at least find parts that I’m amused by in every movie, but dammit I had some trouble finding much to vibe with in Suitable Flesh. Maybe this will be like… a misunderstood cult classic 20 years from now, but things just felt a little too self-serious, on the nose, and drawn out to move the needle on my horror-camp meter. Especially for an H.P. Lovecraft short story adaptation. There is some pretty fkn awesome, squishy, gore fueled visual effects work by Jason Richard Miller though. 

Suitable Flesh is edited, acted, and shot in a manner that plays like a made for TV movie. We constantly fade for commercials that aren’t there, get out of place, over the top line deliveries, and are hit with hacky tropes, that combined to throw me out of the small bits I was buying into in the first place. I hate to dog a musical score, but things had the emotional weight of a late night cable movie and a Lifetime flick all rolled up into one. Not to out my teenage self, but the only comparisons I can draw musically were to the Cinemax after dark era. There’s a bad-cheesy saxophone accompanying every sex scene as well, that sent me over the edge. And holy cow are there more than a few of those cringey sex bits to match the vibe as well. 

Ultimately, not the kind of schlock that does it for me. Whatev. 
😵‍💫🐙🩸🚬

Maybe it’s because I adore Deadstream so much, but I had higher hopes for #ChadGetsTheAxe. Before we amble too far, I will say, we had some fun. There’s usually not a ton of character and plot development when it comes to Screenlife Horror, but we get next to none, coupled with four overdrawn caricatures (I wouldn’t quite say characters even) who I had a reeeaallllyyy hard time liking or caring about.

I have a fairly easy time suspending disbelief for most horror, and there were more than a few moments and clever bits to hold my attention for its breezy 85 minute runtime (I’m a mark for side quest comment reading in these films…). But #Chadgetstheaxe relies a bit too much on a nausea inducing Blair Witch cam to fuel much of its climax, without the same palpable tension that the aforementioned movies use to great effect. Ultimately, things couldn’t quite stand up under their own weight for me, as our driving force of scares could have been fleshed out a great deal more through its livestream medium. And, the satanic cult costuming felt the slightest bit too Spirit Halloween for me (which also could’ve been the 🍃 💨 turning against me, idk? 😭). 

All in all a fun Sunday night pick, that didn’t require much of my attention, and certainly not my film scholar hat. “Tinder Feelings” from Spencer’s character might be the Summer jam I never knew I needed tho.
👹🏚️🤳🪓😵

Maybe my first ever Norwegian film, but it won’t be my last. The Ugly Stepsister felt like a trippy blend of The Substance, Sofia Coppola’s Marie Antoinette, and The Brothers’s Grimm version of Cinderella, resulting in a surreal, nightmare fairytale that might end up in my Top 10 horror films of 2025. 

Lea Myren as Elvira takes you on an emotional journey, drawing empathy and contempt all at once, while completing a sort of Shakespearean arc. And good grief, there’s some body horror that is going to effectively revolt more than a few viewers, while upping the industry standard on effects work once again. Certain segments turned my stomach into knots, reminding me why I enjoy horror so damn much. Sometimes I just like to feel something visceral when watching movies, what can I say?

Emilie Blichfeldt in just her feature film debut, delivered a bullet with The Ugly Stepsister, and while im 99% certain I won’t watch this again, I’m chomping at the bit for her next piece. 
👃🐎👗🔪🦶

As I chip away at David Cronenberg’s filmography, it should come as no surprise that his place in my personal pantheon of horror directors continues to climb. The Brood is a psycho-sexual, heavy af if you’re a parent, mindfu*k that I’m kicking myself for not having jumped on board with sooner. Had a lot of recommendations for this one from some horror friends, and I love when they nail my personal tastes, and I get to add another favorite to the list. 

Paired with Cronenberg’s visual and aural aesthetics, Joe Blasco and Rick Backer’s body horror and effects are top notch in nearly every aspect, helping to set a believably disturbing background to what could be a run of the mill “demon-child” story. The Brood is so far from that in his team and cast’s hands. 

ittedly, I was feeling pretty middle of the road on a decent amount of the runtime until what I can only describe as a bonkers, off the wall, emotional climax and reveal. Cronenberg’s script moves like a steam engine, and when it’s moving at full speed, nothing can slow things down. I’m excited to watch The Brood again through a more focused lens. Super fun, phew. 
🔨 👶🏻👧🏼🏥

How does one follow up the 1984 Palme D’or winner, Paris, Texas? With some commando vs alien action-horror schlock of course. Predator is another movie I’ve been ashamed to not have seen, but am beaming that I finally can take it off the watchlist. 

John McTiernan of Die Hard acclaim, put together an absolutely absurd cast for this one, and I mean that in the best of ways (it also could’ve been a Mr. Olympia lineup out here). Arnold Schwarzenegger is in as good of form as you’re gonna get, Carl Weathers (RIP) is making some cinema stew (bonus points if you get that reference), and we see Sonny Landham continuing a run as one of the iconic 80’s character actors. Can you believe there are two future US Governors in this? 

Alan Silvestri mails in a fairly straightforward score, with a little bit of zing that throws things off at times. Especially the first half. Musically, it’s played like a comedy, and at other times as it should as an over the top action picture, but it all sort of sits nicely on top of some balls-to-the-walls jungle chaos. There’s a supreme physicality to this movie, and I couldn’t help but think about how grueling the filming process must have been. Shit is sweaty, tense and chaotic. 

Effects wise, there are some great practical kills & makeup work, which definitely border on the horror side, and more than a few gorgeous set piece explosions. Visually, things hold up well other than some 80’s digital effect work that is more or less a product of its time.. and oh boy is Predator a product of the 80’s 

There are more quotable one-liners, arm wrestling high-fives, and bullets into nowhere than I can count in Predator, but I finally get to unironically say: 

“Get to the Choppa!!”
👾 🧨🪵🎇🌳

There’s something so… real about Paris, Texas. You really get to live, cry, laugh and simply breathe  with every character, creating a sense that every actor is in the same room as its viewer.

Wim Wenders and company created a beautiful work of art that more than stands the test of time, I don’t know what else to say. Countless film academics have deconstructed Paris, Texas, so this will be a shorter one from me. Between Sam Shepard and L.M. Kit Carson’s script, which plays out so uniquely yet so familiar, paired with Robby Müller‘s pristine cinematography, I never once checked my phone or glanced at the run time. And such a beautiful musical accompaniment by Ry Cooder who played in the Buena Vista Social Club. I’m kinda gobsmacked to be honest.

Something about the way Hunter and Jane finally hugged, with his little legs wrapped around her, ripped my heart into pieces. Had no idea Harry Dean Stanton had the sauce like this either, my word. What a fortunate first viewing of a film that reminds me why it’s my favorite artistic medium, at a time in my life when I can appreciate it so much more. 
🧢🌵🏜️🌆

Watched The Lair of the White Worm, which I’d never heard of before, to get right & ready for Horror Movie Club’s next weekly ep. A young Hugh Grant, Scotch-English folklore, 80’s heavy-metal green screen imagery, and Snake Gods weren’t what I had on my Tuesday night card but I’m glad they were. 

Theres a touch of surrealism that works wonders for me amidst a much campier 80’s vibe. It almost feels like wannabe highbrow art meets lowbrow grindhouse cinema and by God did I enjoy things. Any unique horror comedies will always get me, and a Bram Stoker novel adaptation on top of it? Primo schlocky fun.

Why was everything soooo sexy?!
🧛‍♀️ 🐍🌀🪓

Some movies just work for your subjective tastes. Dead Mail is a disturbingly wacky, creepy-cool film about obsession, isolation, and madness that might be my favorite horror(?) film of 2025. 

I was hooked in the first 30 mins on Dead Mail’s premise, non-linear storytelling, and use of classic synthesizers as their own character. Analog Synth-Heads have always proved fascinating to me as a former electronic musician (Action 52 on SoundCloud lol) and music blogger. They’re like these perfectionists who aren’t necessarily musical in nature, yet work from the ground up to produce the very sounds, notes, and melodies that create a composition. Including this very niche subculture -one that I’ve observed with great interest in my life at that- in a horror/crime thriller completely drew me in. I was also ittedly quite enamored with both John Fleck and Sterling Macer Jr’s portrayal of these archetypes, which helped sell the awesome 80’s midwestern aesthetics. 

Vintage KORG’s, MK-30’s, and MOOG synths paint the background of Kyle McConaghy & Joe
DeBoer’s bleakly curated atmosphere, adding a subtle realness that I couldn’t help but be consumed by. Music and sound is not so much a part of Dead Mail, rather that Dead Mail is a film based upon music and sound. Angular, modulated, and non-rhythmic synth stabs stack all over each other during tense scenes, and beautifully massive synth-harmonies decorate its lighter moments, creating a feel and tone in horror cinema I’d never before experienced. 

Huge hit for me, and I want an immediate rewatch. My goodness I love getting surprised by movies. Shudder originals still manage to keep me so entertained. 
📩📫⛓️‍💥🎹

Such a powerful statement on government, nuclear war, and rebuilding national identity. Growing up with a Japanese grandmother, I the very playful “Godzilla vs X Monster” movies frequently occupying the background of my childhood. This is not that era of Godzilla whatsoever. I feel lucky managing to not fully have experienced the 1954 original until today, as it still packs a heavy metaphorical punch, probably needed my more adult brain to appreciate, and sits in a small category of Godzilla films above the rest. 

There’s such excellent restraint used when it comes to the slow unveiling of our epic Kaiju. This was one of those films you get to realize where so many elements from some of the most beloved monster, Kaiju, and horror films have come from. Even when we do get Godzilla on screen, he remains largely cloaked in shadow, and so many movies have adopted this practice to phenomenal effect. 

Having just rewatched Minus One, and this being my first full viewing of the original, it’s incredible just how impactful, and timeless music can be. There’s a gravity and beauty that Ikira Ifukibe’s original score, used even 70 years later as in 2023’s Minus One, still carries. Godzilla’s music and sound design overall is as or more impactful now than when it was written. Serozawa forever 😭

Getting a Godzilla tattoo next month.
🦖🚢🌁💥

Freaky Tales reeks of style, playing rather loosely with a few beloved 80’s subcultures and tropes, sprinkled cleverly among real life events. Anna Boden & Ryan fleck, and a fun ensemble cast create, a whimsical yet gritty world, that had a hit or miss effect for me. Each of Freaky Tales’ four stories, while more than watchable in their own right, just didn’t quite seem to add up to my expected payoff. A fun ride and feast for the eyes nonetheless. 

Pedro Pascal is a fkn gem, offering the most believable performance of the bunch, but Jay Ellis as “Sleepy” Floyd stole my heart. That last story and Chinese Connection style “1 vs 100” samurai battle literally saved this for me, while sadly also making me think how good Freaky Tales could’ve been if they’d played in that realm a bit more. 

Too Short as a character on film was something I never thought I’d see, and I’m quite happy I did. But… How dare they try to make so cal 80’s punks at an Op Ivy show look so soft. They would never let nazi punks come in, stop the show, and not put up a fight, although the ensuing debate and battle a made for a more cinematic telling I suppose. 

Nazi Punks Fk Off!
🦠🗡️🤰🏻

What an absolutely epic masterpiece. I’m buzzing getting a first Letterboxd log on one of my favorite all-time films (and current Top 4 pick!).

The grief, shame and anger Shikishima as our main protagonist and in turn us as a viewer feel is massive. On my third watch I realized more clearly that his plight also serves as a harrowing metaphor for what was felt by countless Japanese citizens in a post WWII climate. There’s also an underlying doubt and frustration with big government permeating through Yamazaki’s work as this was written during the COVID pandemic, and for some reason it struck me even harder this time around. 

If you take Godzilla out of it, Minus One is still an amazing feat of filmmaking. Shikishima, Noriko and Aikiko’s tale of hope, Tachibana’s absolvement of guilt, Sumiko’s arc from devastated mother to caretaking Auntie; Takashi Yamazaki fits more character development into a tight 2 hr run time than the entire US Monsterverse series. And when it comes to the star of the show, we get a gradual unveiling of our Kaiju as Godzilla’s destruction ramps up, in the same vein as Spielberg’s Jaws that works wonderfully. 

I understand Americans feeeling like certain performances are played a tad cheesily, but the acting fits perfectly in a very expressive Japanese film. Dramatic? Yes. Out of place? Not at all.

The way we get Mothra vs Godzilla’s unmistakable 1964 theme mixed with Naoki Sato’s booming, contemporary orchestral take really is breathtaking. His score perfectly echoes Godzilla Minus One’s emotion and heart throughout. 

A love story, found family film, buddy comedy and epic Kaiju movie all beautifully rolled into one incredible tale. Godzilla Minus One poses questions about life, government, war & love; and for a blockbuster franchise it truly is a little frustrating when thinking about the American version. If we can make films this incredibly with a $10-$15 million budget, what tf are we doing with budgets 10x Godzilla Minus One that look and play 10x worse?! 

Is your war finally over? 😭😭
🦖 🏯🔥💔

Catching up on the big franchises when I can, and as I get through these blind spots, I understand why they pulled the first franchise soft-reboot after Halloween 5: The Revenge of Michael Myers and The Curse of Michael Myers. A big swing usually does it for me, but ultimately it’s a big miss when it comes to introducing the “Cult of Thorn” to Myers lore. Gonna finish this arc as well but Malört, are things are getting fkn silly.

I reaalllly wanted to like this more! Said it before and I’ll say it again, I love horror-camp especially from the 70’s - 90’s, and there are certainly some enjoyable pieces for my personal tastes here. But it feels like Halloween 5 starts to battle itself tonally more than a few times. I usually take a few notes while watching movies to some of the key beats and plot points, but this time my list was scattered with questions. How did Jamie lose the ability to talk? Where tf does Loomis keep coming from, and why does no one bat an eye when he walks into their homes? Are we allowed to be sort of happy when some characters get the axe? Why is this teen friend group’s favorite activity jump-scaring each other when there’s a demonic killer on the loose? I’ll stop…

Let’s just end with a few final thoughts. Danielle Harris as yung Jamie is talented beyond her years, but will always be my favorite Annie Bracket from Rob Zombie’s Halloween remake, and Donald Pleasence as Loomis really is that guy. 
🎃 🔪 🧌👨🏻‍⚕️

Okay, in what world is the movie rated PG-13? Kill List has some of the most visceral violence I’ve seen in film, coupled with some relatively serious gore that our viewpoint doesn’t shy away from. Good grief. Ben Wheatley in the writer and directors chair, constantly subverted my every expectation, and for that in a thriller/horror movie, I’ve got to give praise. Starting as a buddy-hitman-character-study and ending somewhere closer to Midsommar or The Wicker Man is quite the feat, and I’m glad I went there tonight.

We get some incredibly layered performances from Michael Smiley, MyAnna Buring, and Neil Maskell, as they all bounce from rage, to sorrow, to love, to humor as effortlessly as a real family and best friend would. Kill List wields some surprisingly beautiful cinematography as well. We live and breathe with Shel, Gal and Jay through a constant use of deft, stress-inducing closeups, breathing in each character’s every anxiety and fear. 

And my goodness that score… If you can even call it that. With its harsh, screeching synth stabs and pounding drums, its broken soundscape literally shook me. Kill List’s sound plays a huge role in its unique tone, and Jim Williams who also scored Titane and Possessor understood exactly the medium he was working within. 

Shout out to one of my favorite podcasts, Horror Movie Club, for the rec and Patreon episode. That ending tho, yeesh.
💰 🔫🧍🧍‍♀️🧍‍♂️👑

Ya know what makes kids movies a lot of fun? Watching with a kid! We had a blast with A Minecraft Movie, and shoutout to Alamo Drafthouse for their Baby Day Show experience. This was a good time in theaters for my little Creeper’s second ever theater showing, and extremely stress free.

I haven’t really played the actual game, but thought the overworld looked great on the big screen. And I actually vibed with the whole cast, and song choices. Good times. 

REN’S RATING: 5/5 ⭐️ 
🗡️ 🍗 ⛏️💎

Needed a little horror, camp and schlock to start the week as my attention span couldn’t handle anything too complicated or heavy on a Mondee. Halloween 4: The Return of Michael Myers (which is basically Halloween 3 if you consider Season of the Witch a standalone) delivered on that front. 

Almost a run-it-back of the original plot with some new characters, a couple of which are fairly hard to get behind, we get to spend some time with a new Haddonfield ensemble that’s a little hit or miss. I won’t give mega spoilers, but I will say Halloween 4 establishes itself as a strong, fun entry by flipping things with its fairly iconic ending. 

It’s easy to give a on acting in general when I watch campier fare. That said, Ellie Cornell’s Rachel, Danielle Harris as Jamie Lloyd, and Sasha Jenson (you rock in Dazed and Confused tho) as Brady, all kinda… suck as characters. On paper at least, I mean they did what they could with a thin script even for 80’s horror standards, but were frustrating to say the least. Then again, Donald Pleasance rocks as Loomis with his whole body. It’s like he has a sixth sense to know where Michael will be, and it always keeps the plot moving. And I just can’t help but be smitten by it all. 

On the effects side, there’s a pull back from heavy blood and gore, as a lot of the big franchise slashers were getting put on ice by the MPAA around this time. Not a ton to say, but the few practical effects we did get still shine.

Big Al and the boys deserved better. I need to watch Halloween 5 right fkn now. 
🎃 🔪 🚓 😵

Doing my best to stay on the 2025 horror train with Mark Anthony Green’s feature length debut Opus, and it’s one I went into with next to zero expectations. As is mostly the norm in horror cinema, avoiding any marketing paid off, and I got a film that was both narratively and visually up my alley. I haven’t seen the best reviews overall for it, and I love when things subjectively hit against perceptions. For much of its runtime Opus feels more psychological thriller than horror, but my word is it a beautiful, intriguing movie. That being said, while a slow burn to get there, it more than earns its horror tag in its final act. 

When both Nile Rodgers and The Dream appeared as executive producers during the opening sequence, I knew things were going to be musically tasteful as well as visually appealing, and was proven correct. This has the slight underpinnings of a music lover’s movie that I can’t help but eat up. Fun Fact: Both aforementioned musicians also collaborated with John Malkovich as his character Moretti on a three-track EP, and I’m gleefully bopping to it as I write this. On that note, I’m not sure how treated his vocals are, but my god John Malkovich has the voice of an angel, and the hips of a young George Michael. Did yall know he had the sauce like that?! Him and Ayo Edibiri steal scenes left and right, adding an acting eloquence I don’t always get to enjoy watching so much horror.  

When it comes to writing, there’s a pleasantly morbid balance of humor and tension in Green’s script. Some recent tropes get employed that always manage to annoy, namely the voluntary “surrendering of everyone’s cell phones” moment that I’ve experienced a few times in the past year. It serves the plot well enough but always manages to feel unrealistic. There are also some more unique elements sprinkled in. Having guests assigned a 24/7 concierge added an icky touch of paranoia that worked wonders, and it all leads us to a fairly epic, brutal climax in the process. 

I try not to gripe too much trying to be one of Letterboxd’s fun Uncles, so while Opus has its imperfections, I’ll say that it’s one not to overthink, and just have some damn fun. 
🍹 🔪 👘 🎶 🎤

Took way too long to complete the final chapter in Ti West’s X trilogy, and I’m happy to say it was a fitting end for Mia Goth’s pair of now iconic horror characters. Almost got a little choked up out of happiness when the credits rolled on the  conclusion of what feels like a clear love letter to horror cinema, from one of the genre’s brightest artists. 

I’ve been watching loads of older horror fare lately, and forgot just how slick, stylish and glitzy Ti West’s visual aesthetic can be. At the same time, his trilogy invokes a healthy dose of welcome nostalgia, nailing the 50’s with Pearl, 70’s sexploitation with X, and flashy 80’s meets scuzzy-action-giallo-slasher in Maxxxine. And they nailed it with the 80’s music tracking. Kim Carnes’ “Bette Davis Eyes”, Frankie Goes to Hollywood’s underground party anthem “Welcome to the Pleasuredome”, and Animotion’s “Obsession” are near perfect choices to fit Maxxxine’s setting, and all sit so nicely together on top of Tyler Bates’ accompanying atmospheric score. I’m a sucker for 80’s style, whatever. 

There’s also a clever way Richard Ramirez’s night stalker true story is interwoven with Maxine Minx’s world, grounding things with more of an edge than the creepy fairy tale feel of Pearl. And in keeping with that stylistic nod, we get some truly epic effects in the kills department. Holy mackerel, the car crusher kill was a damn cinematic feat, the up close knife through the nose kill was gnarly, and the Shotgun head explosion fkn rocked. 

A trilogy we truly didn’t deserve. 
🔪 😵 🎥 ⛪️

Fml. This is what I’m talking about from now on when friends ask about “elevated” horror. Unique, grim, pleasant, heinous, Audition stands alone for me now. But… I may have a streak of feel good comedy reviews after tonight. 😭

I completely understand people having an issue with the long slow build to bonkers but brief climax, but for me it was a perfectly restrained arc into disgusting chaos. There’s an ominous tension lingering between every line of dialogue and each interaction that I can’t quite articulate, but know that I need a shower after watching. Takashi Miike slowly and effectively pulls his viewer into a relatively straightforward, well acted love story, even when knowing something horrific is looming. 

We get to revel in 90 minutes of harmless, rather charming, “find a wife” dram-com plotting, which I didn’t expect but more than appreciated. And then there’s this absolute sledgehammer of a final 20 minutes, giving Audition a unique balance that still feels like nothing I’ve seen before. Relatively tame by the torture porn standards that would closely follow Audition’s 1999 release, our main characters are so carefully written and acted that it made every emotion feel heavy as an anvil in its final act. 

Audition is a tragic look at grief and loneliness, coupled with a Japanese perfectionist sense of art and style that I adore. It’s already permeating my headspace as I write this near hours later at this point, normally having a review up within 30 mins of finishing. 

My guy Shigeharu is just the GOAT of ignoring red flags tho. 
💉🪡🪢🤷🏻‍♀️

As a horror fan, I seriously need to catch up on David Cronenberg’s filmography, because Scanners was so my cup of tea. 

When it comes to practical visuals, just… wow. There’s a bit of grittiness to its photography that still looms ominous today. And from that epic exploding head scene which took many more people, and many more hours to complete than I had any idea, to that absolutely bananas Scan-Off climax, Gary Zeller’s special effects team is in utterly phenomenal form and the real star of the show for me. I watched a mini doc on the effects process for Scanners, and recommend it if you’re into makeup effects. 

From an acting standpoint, we mostly get solid showings. There’s a certain gravity to Michael Ironside’s performance as Darryl Revok, as well as Jennifer O’Neil as Kim Obrist, and they drew me in every time we got them on screen. On the other side, we spend a ton of time onscreen with a bit of an inhuman showing from Steven Lack. It fits the character of Cameron Vale well for the most part, but might be one of my only gripes as it grew a bit tired by the end.

Scanners also has a kickass score. Howard Shore, who also scored Seven, Silence of the Lambs, Videodrome and The Fly, among countless others, authors a unique sound that plays eerily well in Cronenberg’s films. 

Scanners to me, is just a stylistic juggernaut.
🔮👮🏼‍♂️🖥️😵

What a cool, quirky, creepy little film Phantasm is. While perhaps an exercise in style vs. substance when it comes to its surreal narrative and storytelling against its visual and aural components, Don Coscarelli’s first entry into his self contained supernatural universe more than stands the test of time nearly 50 years on. 

Watching a remastered version worked wonders on the 1979 movie, and drew me in with its distinct color palette and charming visual style. The white/black marble of Phantasm’s plot central funeral parlor interior against lush, red velvet drapes, and loads of blood is still so visually striking today. And I was gobsmacked by the sound design. What a unique array of harsh but warm sounds, not following the tropes many similar sounding scores future horror films would use. I mean, the main theme is borderline drum-n-bass and I was there for it. 

In the practical effects department, Coscarelli also mostly handled things with his small team. Horror effects stay relatively restrained, but when it was time to unleash gore, boy did they ever. The metal sphere, also practical, might as well have been its own character and gets some great moments to shine… and burrow into people’s heads. 

Despite its flaws, which include one too many dwarf zombies in canisters getting transported as slaves to another dimension, and Bene Gesserit Dune handboxes, Phantasm now occupies a special place in my heart. 
⚰️ 🧟‍♂️ 🔪 💁‍♀️

This movie is so quintessentially 90’s I can’t take it. But also, I can definitely take it, and love it so much it hurts. My son actually picked this out while we were surfing YouTube, and i couldn’t have been more geeked to watch with my little Monstar. Might be in the 20’s when it comes to the amount of times I’ve seen Space Jam, and just am cheery to be logging it. 

Daffy carries this for me as a parent. Pulp Fiction and Patton references? High brow comedy. 

Ren’s Rating (after much contemplation): 4/5 ⭐️ 
🏀 👽 🐰

Another film I’ve been so-so on watching due to not being the most knowledgeable, or necessarily intrigued when it comes to the world of Le Mans and racing in general. Here I am, reminded yet again why I’m embracing my Dad Movie era in 2025. 

James Mangold infuses what could be a rather rote, mostly-business-and-less-adrenaline-fueled tale with a humanity that bleeds into every performance and set piece. That humanity reigns over his full body of work, as I love Logan, Walk The Line, & Girl Interrupted and was reminded why watching Ford v Ferrari. A hefty runtime of 2.5 hours centering on engine & auto-body modifications, family dynamics and business posturing feels exhilarating in Mangold and his cast’s hands. And god damn, those cars, with the care and detail they’re given, had me gripping my seat when it came down to it.

Christian Bale is in usual form, which to say for me, is impeccable. The way he constantly manages to tease out such nuanced characters will forever be at or near the apex of acting. Matt Damon manages to reel me in, even when I underestimate him as a lead. I was just such a sucker for the onscreen bromance of Damon’s Carrol Shelby and Bale’s Ken Miles pushing the boundaries of physics and each other’s buttons. Classic. 

Time to finally watch A Complete Unknown. 
🏎️🏁🇮🇹🇺🇸

I can fondly walking through the horror section of our neighborhood Hollywood Video as a yute (shoutout My Cousin Vinnie) in the late  90’s, being intrigued, awestruck and most of all terrified by this most epic of classic horror covers. Excited to finally get a watch on what was for me, a hell of a long time coming. Boy does April Fool’s Day author more than a few twisty-turnies, skipping around and subverting expectations like very few 80’s horror movies do. And I gotta give flowers in that it’s a surprisingly good looking flick for an 80’s remaster.

Probably have said it too many times, but I adore 80’s slashers, and with that sentiment, can give a on schlocky acting and editing in this realm. I really didn’t have to with most of the performances here. Having seen quite a few slash-fests at this point, a unique entry is always appreciated, and going in blind paid off for a first viewing. I’ll keep things breezy, and will just go ahead and give a rec to go in as blind as you can, and have some fun. 

Muffy & Buffy are my gurlz. 
🔪 🛶 🏡

Okayyyy, not sure if I read the vibe right, but I swear there are some moments that flat out have the darkly humorous feel of Ari Aster. There’s an underlying humor to The Rule of Jenny Pen that I wasn’t quite ready for tonally, and am half sure it’s a black comedy. 

The Rule of Jenny Pen is certainly watchable. Geoffrey Rush’s witty character work, matched with a failing body created a character I couldn’t help but have a soft spot for. While John Lithgow’s over the top antics, and some decent showings from the rest of the cast make for a bit of fun. As far as any horror goes, it was hard to get on board when the whole time, I just wished they’d check the damn cameras. Who runs this retirement facility? What happened to the guy in the beginning who just spontaneously combusted? And why is this place in the middle of what seemed to be swampy marshland? So many questions. 

John Lithgow punking people for their soup is deranged, hilarious, and something I didn’t know I needed. But I just… can’t help but be thrown off by this one. 
🪆👴🏻👵🏻😭

Planning on having a strong year keeping up with horror releases in my own way. We will see 💀 🔪

1. Sinners
2. Bring Her Back
3. Dead Mail
4. The Ugly Stepsister
5. The Monkey
6. Opus
7. Companion
8. Final Destination Bloodlines
9. Freaky Tales
10. Drop

...plus 7 more. View the full list on Letterboxd.

Starting to add recommendations from chatting in Letterboxd comments, and real life so I can keep track and engage more with movie friends.

• A Tale of Two Sisters

  Rec from my beautiful wife RhimmsXO

• Altered States

  Rec from Dannah

• Tetsuo: The Iron Man

  Rec from Adam

• eXistenZ

  Rec from Megan

• Don't Breathe 2

  Rec from ycxxx

• The Age of Innocence

  Rec from Dannah

• Rear Window

  Rec from HarryEarles1902

• The American Friend

  Rec from Dannah

• Krampus

  Rec from HarryEarles1902

• Chungking Express

  Rec from Adam

...plus 2 more. View the full list on Letterboxd.

Didn’t watch as many horror movies this year, so my scope is a little limited. Anyhow, here are my picks  🔪 🩸 👻

1. MadS
2. Longlegs
3. Late Night with the Devil
4. The Substance
5. Nosferatu
6. Smile 2
7. Oddity
8. Alien: Romulus
9. Azrael
10. Terrifier 3

5 movies I’d pick if I was deserted on a desert island with a VHS and 25” TV. Maybe not the ones I would consider the “best” films, but ones I can rewatch endlessly.

• Pulp Fiction
• Seven Psychopaths
• Heat
• The Crow
• RRR

5 movies I’d pick if I was deserted on a desert island with a VHS and 25” TV. Maybe not the ones I would consider the “best” films, but ones I can rewatch endlessly.

• What We Do in the Shadows
• The Texas Chain Saw Massacre
• Scream
• The Return of the Living Dead
• The Thing

A lot that I still wanted to see, but I watched more movies this year than I have in a decade. I pretty much watch horror and kids movies for reference.

• Dune: Part Two
• Longlegs
• Nosferatu
• The Substance
• Late Night with the Devil
• Furiosa: A Mad Max Saga
• Love Lies Bleeding
• Anora
• Oddity
• Monkey Man

...plus 1 more. View the full list on Letterboxd.

5 movies I’d pick if I was deserted on a desert island with a VHS and 25” TV. Maybe not the ones I would consider the “best” films, but ones I can rewatch endlessly.

• The Big Lebowski
• Superbad
• Office Space
• The 40 Year Old Virgin
• The Other Guys