
Three Japanese Horror Classics Haunted by Women’s Agony
If there’s an undercurrent throughout the Japanese horror in Daiei Gothic Vol. 2, it’s how women’s suffering is so embedded in Japanese folklore.

If there’s an undercurrent throughout the Japanese horror in Daiei Gothic Vol. 2, it’s how women’s suffering is so embedded in Japanese folklore.

These 12 psyche-burrowing, Halloween-perfect horror movies indulge our damned desire to explore the dark inner recesses of our selves and society.

In an era when cameras dictate and distort our perception, found-footage horror movies keep creeping back into our never-wholly-real, uncanny world.

In Friday the 13th: Part III, Jason Voorhees’ evolving behavior hints at disturbing autonomy and sexual aggression that, in today’s parlance, we deem “incel”.

The Shining endures because it conveys all horror, real and imagined: Stephen King’s horror of the collapse of Man, and Stanley Kubrick’s collapse of History.

The fears 1970s horror movies face are no less so now, but they create just enough distance from our reality this Halloween that we can at least peer through our fingers to watch them.

One Battle After Another‘s sympathetic portrayals of left-wing radicalized groups seems an impossible-to-resist target of the pearl-clutching, but it’s been less of a lightning rod than expected on that front.

Peter Vack’s candy-colored RachelOrmont dares the squeamish to reckon with the schizoid darkness happening on cellphones all around them.

The incredible power in Diane Keaton’s genius is that she was all loveliness and light. She didn’t need a comedy bit to be funny or appealing. She was enough.

In Paul Thomas Anderson’s dark comedy One Battle After Another, the liberationist politics of the 1960s make for a good show and a dead end.

Despite its flaws, Israel Palestine on Swedish TV 1958-1989 is a meticulously detailed study of conflict and hauntingly foreshadows the current moment.

As political allegory, A Serbian Film dares viewers to laugh not because it’s funny, but because the scream is too loud to hear the subtext otherwise.