Halloween Treats: A Sample of 2024 Horror

by Cláudio Alves

There's no better way to celebrate the spookiest holiday of them all than by indulging in the perverse pleasures of horror cinema. But what to watch? While classics are reliable, keeping up with the latest gems is fun, too. Every year, new delights are added to the nightmare canon, and 2024 is no different, with many scary movies among the best releases of the past few months. With that in mind, let's dive into the horror pool and see what precious gems we discover hiding in its depths - ones already available to stream at home, alone in the dark. For brevity's sake, I focused on English-language fright fests and films not yet reviewed at The Film Experience, starting with I Saw the TV Glow…

Click to read more ...

When will AMPAS embrace Horror makeup?

by Cláudio Alves

Between its box office numbers and pop culture footprint, The Substance has been one of the year's most unexpected success stories. MUBI's biggest release is also its most profitable, growing steadily through word of mouth and an aggressive campaign unafraid to highlight the picture's extreme body horror, its sheer grossness. Indeed, the Cannes Best Screenplay prizewinner is among the year's most-watched original films, having found its audience without the aid of IP recognition or all those shiny notions that excite Hollywood execs. In a world where genre bias wasn't a thing and snobbery didn't run rampant in film circles, one might expect Coralie Fargeat's provocation to factor heavily into the awards season. We don't live in that world. 

While one might suppose The Substance's rhapsodies of aged and mutated flesh, exaggerated voluptuousness, and grandiose gore would score an easy Best Makeup & Hairstyling nomination, that's not a safe bet. As the genre most dependent on makeup effects and where technical innovations often manifest, horror should have a place of honor in the category. Sadly, it doesn't. It hardly ever did…

Click to read more ...

Halloween Treats: "Red Rooms" is the year's best scare

by Nick Taylor

As you may remember from last week, I made a threat and promise to talk about contemporary horror this October. We’ve arrived. Hands down the best horror film I’ve seen from this year is the Canadian thriller Red Rooms, a 2023 release by Pascal Plante that’s just completed a months-long journey across festivals and art house cinemas before arriving in your hard drives through a menacing mp4 file. It’s a nasty, skin-crawling film, diving into the world of true crime prurience and online torture porn through the vantage of one of the year’s most intimidating performances. Wanna know more? Follow me under the cut...

Click to read more ...

Halloween Treats: Argento's "Deep Red"

by Nick Taylor

If a true cinephile has opened their third eye, they know the best time to watch horror movies is whenever they want, without the pretext of a Halloween or some such ritual to pop in a scary story. But we can never take Halloween’s power for granted, and to offer fealty to all the ghosts and ghouls haunting The Film Experience, I come with tales of scary movies past (and present??). Our first offering is Dario Argento’s Deep Red, a paragon of giallo cinema.

If you choose to read on, join me under the cut... just mind the entrance wound on your way in...

Click to read more ...

TIFF '24: For the Dead and the Dying and Those Left Behind

by Cláudio Alves

Vincent Cassel and Guy pearce in David Cronenberg's THE SHROUDS.

All of us are on a long journey into death, set on a collision course with the great end that nothing can entirely prevent and no one can avoid forever. Artists are no different, mere mortals like the rest of us. However, the nature of their work means those persons' relationship with our collective finality may take unexpected forms, many of them public. Whether a creator wants it or not, when the finish line comes into conscious sight, their creation shall reflect it. Mortality subsumes the art, even when buried deep within layers of escapism, deflection, and delusion. The brave ones disregard such distractions and stare at the monster head-on. For them, late style is a cinema of death.

Consider the most recent works from two of our greatest masters – David Cronenberg and Paul Schrader. The Shrouds and Oh, Canada are meditations on mortality, made for the dead and dying and, most importantly, those left behind, waiting for their own end…

Click to read more ...