Fear in a Handful of Dust: Hell, Faith, and Will in The Exorcist

A concerned Regan bows her head and leans against the wall near the door of her bedroom to listen to her mother in the other room.

|Harry Mackin| The Exorcist knows you’re afraid of it from the moment it begins. Well before its disturbing supernatural plot starts in earnest, you can feel the malice Friedkin imbues into every shot and frame, like “fear in a handful of dust”…  Continue reading

The Gift That Keeps on Giving: Black Christmas and the Creative Continuum of Holiday Horror

A young woman wearing a yellow, collared shirt and dark vest looks out a door decorated with a wreath and glowing red lights.

|Andrew Neill| My first experience of cinematic horrors shattering the porcelain white purity of the holidays had to be The Nightmare Before Christmas. Six-year-old Andrew was not prepared for Santa to be kidnapped by demonic trick ‘r treaters and tortured by the Oogie Boogie Man, a sentient bag… Continue reading

The Wicker Man: The Sources for an Insular Folk Horror 

A procession of wildly dressed people weave through a Stonehenge-like structure.

|Sophie Durbin| The Wicker Man begins like a typical “everyone in this town is hiding something” crime story. Sergeant Neil Howie arrives by seaplane to the fictional Hebridean island of Summerisle to investigate the disappearance of a young girl. He discovers that the locals, who seem ordinary at first, … Continue reading

Echoes of the Past: Let’s Scare Jessica to Death and the Haunted Heroine Archetype

A headache = a brunette woman rubbing her temples with both hands

|Courtney Kowalke| Last night I dreamt I went to Manderley again.

Or did I? Do you believe everything I write in these reviews? Do you take me at my word when I mention details from my life, or is there a sliver of doubt? Do you know who I am offline? When I’m not the person behind the keyboard telling you… Continue reading

Low-Down Horror :: Keep Screaming, Blacula

Blacula, a black vampire, looms over a raging fire pit with fangs and eyes highlighted in white and outlines of a cape fluttering on his sides. An assortment of smaller-sized characters with green skin and purple dress surrounds the fire, and two female characters, white with red hair on the left, and black with dark afro hair on the right, encircle the green-skinned characters. The film's title appears in bold red and white letters to the right of the image against a black background.

|Matthew Tchepikova-Treon| The following assertion is perhaps already an old saw by now, but still I think it bears repeating from time to time: The notion of “elevated horror” is pretentious AF. It’s a crass moniker meant to distinguish horror cinema’s more prestigious vendibles from… Continue reading

“This is no dream! This is really happening!”: Rosemary’s Baby’s Horrific Reflections of Female Subjectivity in 1968 and Present-Day America

Rosemary, a light-skinned young woman with short blonde hair, cradles her knees bending forward while sitting on a stool in front of a television that shows a burlesque dance sequence. The TV glows blue, and the room she is in is draped in beige-patterned curtains, framing tall windows that show heavy rain outside.

|Jillian Nelson| When Rosemary’s Baby released in 1968, conflicts over women’s rights raged on as second-wave feminists battled governmental restrictions that seeped into interpersonal relations. Birth control pills had only just been made legal. New York had recently… Continue reading

Rosemary’s Baby: The Anatomy of a Satanic Impregnation Scene

A close up of Rosemary lying on her back, looking at the ceiling, unclothed in the chamber.

|Sophie Durbin| take so much pleasure in every rewatch of Rosemary’s Baby that it often feels more like I’m visiting old friends, not watching one of the scariest films of the twentieth century. I love the pink font used in the title sequence, the New York Christmas scenes, the way… Continue reading