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Rosemary’s Baby is a horror movie, sure, but it’s not the kind of horror that’s going to shock you with buckets of blood or grotesque imagery. It’s not a slasher flick. There’s no hockey-masked villain silently stalking some random babysitter through the woods. In fact, Rosemary’s Baby is more of a slow-burn psychological unraveling, the kind of film that makes you question whether or not you’re losing your mind right along with the protagonist.
Jacob’s Ladder isn’t just a movie—it’s an experience. And not in that pretentious, “you have to see this on the big screen” kind of way. It’s the kind of film that gets under your skin and messes with your perception of reality, not because of what it shows you, but because of what it makes you feel.
Stephen, Samuel L. Jackson’s character in Django Unchained, isn’t great in the way you typically describe a character as “great.” He’s not the kind of character you want to grab a beer with, or the guy you secretly root for when things go sideways.
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What’s so great about The Lighthouse? Honestly, it’s like nothing else. It’s one of those films that defies easy categorization—part psychological thriller, part horror, part dark comedy, and all kinds of weird.
But that’s what makes it great. It’s a film that dares you to get comfortable and then immediately pulls the rug out from under you, over and over again.
What’s so great about Hellbound: Hellraiser II is that it takes everything Hellraiser started and cranks it up to eleven. If the first movie was about opening the door to another dimension, Hellraiser II is about diving headfirst into that dimension, tumbling down the rabbit hole of chaos, suffering, and surreal, twisted horror. It’s like director Tony Randel took Clive Barker’s concept, looked at the box, and thought, “Why stop at opening it? Let’s get inside this thing and see how far it really goes.”
What’s so great about The Texas Chainsaw Massacre (the 1974 version, let’s not even talk about the sequels or reboots) is how it just refuses to let you feel comfortable.
It’s not just that it’s a horror movie, but that it’s the horror movie, the purest form of that genre’s DNA boiled down into 83 minutes of gritty, unrelenting tension.
[Read more…] about What’s So Great About ‘The Texas Chainsaw Massacre (1974)’?
If Under the Skin had come out in the ‘70s, people would’ve talked about it in the same breath as 2001: A Space Odyssey and The Man Who Fell to Earth.
Instead, it came out in 2013, which means most people either haven’t seen it, or if they did, they have no idea what the hell they just watched. And honestly, that makes sense.
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I’ve always believed there are two kinds of bleak movies: the kind that makes you want to curl up in the fetal position with a bucket of ice cream (Requiem for a Dream, anyone?), and the kind that sneaks into your head, quietly makes itself comfortable, and then slowly unravels your sense of emotional stability over the next few days.
[Read more…] about Why You Should Let the Movie ‘Never Let Me Go’ Break Your Heart
There’s a special kind of horror that sticks with you—not the jump-scare variety or the eerie quietness of a haunted house, but the stuff that seeps under your skin and lives there forever. It’s the kind of thing that makes you squirm in your seat and look away, but when you close your eyes, it’s still there. It’s worse than any monster or ghost. It’s real violence, violence that feels personal. And in 1987, RoboCop gave us the most traumatic death scene in cinema history—a scene so gory, so relentless, that it transcended the movie and carved itself into our collective memories like a scar we all share.
The Jackal is one of those movies that exists in the weird twilight zone of 90s action films, where logic is optional, and characters make decisions that would only make sense if they were high on a mix of adrenaline and existential dread.
Case in point: Jack Black’s character, Ian. Poor, hapless Ian, who’s about as competent as a drunk guy trying to solve a Rubik’s Cube. He gets roped into helping Bruce Willis, the stone-cold assassin, test out a high-powered, military-grade cannon.
[Read more…] about The Ridiculous Scene in ‘The Jackal’ That You Can’t Help but Love