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  • Blu-ray Review Round-Up: “RETURN OF THE KILLER TOMATOES”, “THE CRUSH”, more…

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    With Summer officially upon us, horror collectors have been choosing which valuable fright titles they should add onto their Blu-ray shelves. Alas, fright fans only have so much dough to go around, so picking and choosing what scare fare to stock up on can be a tough decision. Luckily, FANGORIA has the latest Blu-rays from specialty horror distributors, and in this review round-up, horrorheads can better decide which releases are best suited for their home media collection.

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  • “THE SHALLOWS” (Film Review)

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    It’s really fascinating to watch the evolution of Jaume Collet-Serra as one of the studio system’s most entertaining filmmakers. Although his films wouldn’t necessarily be Oscar-material, his gallery of action and horror films have posited him as the stylish contemporary equivalent of Michael Winner, and even at his worst, his direction is way more sleek and palatable than some of his peers in either genre. Luckily for horror fans, Collet-Serra’s THE SHALLOWS might be his most entertaining film to date, offering a simplistic horror-thriller that keeps you on the edge of your seat.

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  • “BATES MOTEL: Season 4, Episode 10” (TV Review)

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    Despite Norma looking very much deceased in last week’s episode, it was still debateable whether or not she was truly dead, possibly due to the fact that it is almost unheard of for one of the two leads to be killed off at this point in the game. With Norman’s mind increasingly diluted by psychosis, the show is always in the air as to what is real and what is not, and of course, there is also the case for characters having been brought back from the “dead” before, such as with Bradley Martin. Alas, that was not the case for poor Norma Bates.

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  • “OUTCAST: Season 1, Episode 1” (TV Review)

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    For fans of Robert Kirkman’s particular brand of pulp horror, one certainly knows the value of patience. While OUTCAST, the new exorcism horror series from Kirkman and Cinemax, does start out of the gate with a bit of stomach-twisting nastiness (including one shot that is guaranteed to give off phantom pains), the narrative itself does demand that the audience follow the story at a specific pace, investing its time into building the characters and world before throwing us into exorcist action. In some ways, it’s tonally more akin to the likes of HANNIBAL than Kirkman’s own WALKING DEAD, with mature, artful storytelling with glimpses of brutal, goosebump-inducing horror. But by no means does this mean OUTCAST is any less of a horror show, and in its debut episode, the series offers a layered tale of terror that’s engages you intimately before bringing its nightmares to life.

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  • “BATES MOTEL: Season 4, Episode 9” (TV Review)

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    After bearing witness to Norman’s ax-wielding meltdown in Episode 8, Episode 9 finds Alex concerned (and rightfully so) for the well-being and safety of Norma, who refuses to admit to him (and herself) that his request to have Norman go back to Pineview is warranted. Norma goes through her checklist of angles to get out of it but goes with her trusty ol gaslighting approach by telling Alex that he is overreacting.  

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  • “BITE” (Film Review)

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    Since the heydey of body horror in the late ‘80s/ early ‘90s, the gruesome subgenre has resurfaced sporadically in recent times. As CGI becomes less of an industry standard among the low-budget horror realm, horror titles such as AMERICAN MARY, TUSK, and ANTIVIRAL have taken advantage of the power of practical FX work when applied to malevolent body modification. Yet while many of these films rely on surgery-gone-mad or flesh rotting away to the elements, few modern body horror offerings go truly beyond the pale for their main mutation. However, if Chad Archibald’s BITE is any indication, that tide could be turning in favor of the bold and ambitious side of the subgenre.

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  • “BATES MOTEL: Season 4, Episode 7” (TV Review)

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    There was something unique about last week’s episode of BATES MOTEL, entitled “There’s No Place Like Home” after the mantra repeated by Dorothy in THE WIZARD OF OZ to help her come back to reality. Directed by Nestor Carbonell (who plays Sheriff Romero on the series), “There’s No Place Like Home” offers an interesting dynamic and perspective, especially considering Carbonell is someone who has crafted a vital character on the show. Nestor’s vision is absolutely stunning, and this episode, much like Romero himself at times, has a very sweet tone to it.

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  • “PENNY DREADFUL: Season 3, Episode 1” (TV Review)

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    In the history of PENNY DREADFUL, the series has often drawn praise from viewers and critics alike for embracing Gothic Horror storytelling. The show’s narrative often required as much patience as it did violence, and organically fleshed out its character relationships in a way that would drive these literary horror icons together. Yet for the third season of the series, the show’s approach takes a certain and noticeable stylistic shift that somewhat disregards its Gothic beginnings for a full-on golden age cinema revival, complete with a train robbery, more action-driven set pieces and less rumination on life-and-death.

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