Fantastic Fest 2022 kicks off today! Dead Ringers is making its return to the largest genre festival in North America. Four of us — Nolan, Ben, Emily, and Kat — will be at the festival this year, and we’ll be sharing our thoughts on all the movies we see on a special series of podcast episodes releasing throughout the festival. Until then, check out some of the films we’re most excited to see this year!
Lucky McKee’s May has become a Halloween-viewing staple among genre fans. The strange fairy tale of a lonely young woman trying to find a meaningful relationship in a world of imperfection is a beautiful and unique film experience. May’s journey is one of hope and heartbreak, as we watch her try to form a bond with several people in her life, only to be let down and forced to take a rather unorthodox approach to finding that connection.
I caught Starfish at Fantastic Fest last year and it was one of the most uniquely beautiful films that I saw. Writer/director A.T White explores grief, loss, depression, and guilt in a way that pulls viewers into the headspace and soulspace of Aubrey (Virginia Gardner) — a young woman who has recently lost both a friend and a partner and is struggling to make sense of her emotions.
There’s a moment in Guillermo del Toro’s Hellboy II: The Golden Army that fills me with joy like no other. Hellboy (Ron Perlman) and Abe Sapien (Doug Jones), both lovesick, sit together in the library of the Bureau of Paranormal Research and Defense (B.P.R.D.) and drown their sorrows with beer and sappy, soft rock love songs. Each character is facing his own romantic dilemma and is unsure how to proceed — fearing the worst, but hoping for the best.
When Unfriended arrived in 2015, the found footage subgenre was already on the decline, having saturated the market for the previous five or six years following the success of movies like Paranormal Activity. The format, it seemed, was wearing thin, prone to being too formulaic and one-note (though, to this day, I’ll still give most of them a shot). The movie reviewed well and grossed a ton of money relative to its meager budget ($1 million), but it seemed to exit the conversation just as quickly as it had arrived.
2017 was a great year for horror. You’ve probably already had two months worth of folks telling you as such — including somethat havewritten forthis site — but even now it’s still an understatement. I had to leave off a number of great horror flicks, which is why my honorable mentions is almost as long as my regular list, but I wanted to highlight the movies that resonated with me the most, the ones I want to champion.
Before Women in Horror Month comes to a close, I wanted to spend some time with one of my favorite horror films. When we talk about women directors in the horror genre, Mary Lambert’s Pet Sematary is always part of the initial conversation. It has repeatedly been named on numerous lists over the years, but aside from briefly mentioning it when discussing female contributions to the genre, we don’t really discuss it in-depth anymore. And why is that? It’s a solid entry into horror — scary, atmospheric and effective, and one that holds a personal connection for me.