“If you can’t find a friend, make one”: 20 years of May

Lucky McKee’s directorial debut May (2002) was not a huge box office success. It initially made far less money than it cost to make, and it baffled many of the audiences who initially got to see it, including the New York Times reviewer Stephen Holden, although he took for his point of reference the slasher […]

Interview: The Passenger’s Ramiro Blas

Following on from our recent review of the ‘creature feature road trip’ movie The Passenger, we were pleased to get the opportunity for a quick chat with leading man Ramiro Blas, who plays the inimitable (and potentially divisive) leading man Blasco in the film. Blas has a long pedigree as an actor – over twenty […]

Blood in the Snow 2020: Hall

I’ll be honest; I’ve been dreading the inevitable ‘lockdown horror’ boom, and it’s something which is already happening: bored folks with cameras riffing on ideas about coronavirus is unlikely to bring us too many in the way of classics. Happily, Hall (2020) is not of this stripe. It’s born of coincidence rather than opportunism, a […]

Swallow (2019)

Magpies are notorious for their willingness to eat almost anything.  In fact, it is due to this habit that they lend their Latin name, picave, to the psychological condition known as pica. Listed in the DSM-V as an eating disorder wherein one persistently eats non-nutritive, non-food substances, pica is basically the formal diagnosis for someone who […]

The Mind is a Labyrinth: Hellraiser II at 30

By Matt Harries If ever there was a horror franchise that elicited an equal sense of both joy and frustration, it is surely the Hellraiser franchise. How many films have managed to nail (sorry) such a heady blend of slasher flick and (to paraphrase Doug Bradley) ‘Gothic Ibsen’? The first film, Hellraiser, established a template […]

Dans Ma Peau (In My Skin): a Retrospective

It’s been nearly fifteen years since Dans ma Peau (2004) was released, duly taking its place in the canon of New French Extremity, and garnering a great deal of justifiable praise for its transgressive nature and clarity of vision. These features alone – both the film’s age and its reputation – give us good enough […]