“Kia whakatōmuri te haere whakamua (I walk backwards into the future with my eyes fixed on the past).” – A Māori proverb. There’s this strange belief coursing through some in the United States that European culture is being threatened by… Read More ›
Dark Sky Films
Avalon Fast’s coming-of-age tale “CAMP” is either a lucid dream or a waking nightmare. [Fantastic Fest]
“We are the weirdos, mister.” – Nancy (Fairuza Balk) in The Craft (1996) These five lines are iconic for a number of reasons, many of them quite personal to the individuals who recall and restate them nearly 30 years later;… Read More ›
Documentary “Chain Reactions” shares the voices of five pop culture pillars discussing the on-going impact a 1970s film has had on their lives and careers. [BUFF]
If you’re a fan of the cultural zeitgeist documentaries, then the name Alexandre O. Philippe should mean something to you. Philippe has directed such projects as The People vs. George Lucas (2010), Doc of the Dead (2014), Lynch/Oz (2022), William… Read More ›
Capsule Review: Alexandre O. Philippe’s documentary “Chain Reactions.” [BUFF]
Alexandre O. Philippe has directed such projects as The People vs. George Lucas (2010), Doc of the Dead (2014), Lynch/Oz (2022), William Shatner: You Can Call Me Bill (2023), and now Chain Reactions, a documentary about the cultural and personal… Read More ›
“She Loved Blossoms More” is a welcomed head trip about grief. [Tribeca Film Festival]
Yannis Veslemes’s (The Field Guide to Evil) newest film, She Loved Blossoms More, has the aesthetic of what I assume being on acid would be like, however the come down from it is devastating and beautiful, making this psychedelic journey… Read More ›
The site and sounds of horror thriller “A Desert” will chill you to your bones. [Tribeca Film Festival]
Joshua Erkman (director and co-writer) and Bossi Baker (co-writer) are certainly going to be names to look out for in the future. Both of them have teamed together to direct and co-write their first feature, A Desert, which focuses on… Read More ›
“Faceless After Dark” is fury manifested on digital as it rages against parasocial relationships and the commodification of people. [Atlanta Film Festival]
Photosensitivity Warning: There are multiple sequences — some short, some prolonged — of intense strobing and glitching effects, which may trigger migraine or other neurological issues. In the age of digital media, developing parasocial relationships occurs before most even realize… Read More ›
Larry Fessenden’s “Blackout” seeks to eviscerate more than tender flesh. [Fantasia International Film Festival]
Monster stories, creature features, if you will, generally are tales of outsiders. Dracula is but a lone survivor of a people trying to rekindle his species, Frankenstein’s creation is but a homemade newborn trying to find a place in a… Read More ›
“Citizen Sleuth” is an interesting exploration of the lines between true crime investigation and exploitation. [SXSW]
True Crime podcasts are a dicey guilty pleasure: on one hand, the reinterpretation/summary of gruesome and/or strange murders can be enticing to delve into; on the other hand, you risk crashing into the space of exploiting the tragic lives in… Read More ›
EoM Presents: A Conversation with “Citizen Sleuth” director Chris Kasick. [SXSW]
In this conversation, EoM senior interviewer Thomas Manning speaks with filmmaker Chris Kasick about his feature documentary directorial debut Citizen Sleuth, an official selection at SXSW 2023. Kasick discusses the vast evolution of the project over a five year period… Read More ›
Tragically haunting, “My Heart Can’t Beat Unless You Tell It To” forces the audience to consider difficult questions.
Quiet horror is not a particularly marketable asset to a major studio, and it’s because of that that we just don’t see much of it in the immediate landscape of the genre today. Audiences demand bigger thrills, louder jump-scares, and… Read More ›
“Luz: The Flower of Evil” offers a folk-horror tale that is both all-too-realistic and wonderfully fantastical.
Last year, Ari Aster set the bar high for “daylight” horror films with Midsommar, a terrifying fantasy that casts its disturbing events against a beautiful, blossoming, sunlit backdrop. The genre-play proved to be quite successful for Aster, although the effect… Read More ›