watched the first part of Netflix’s Fear Street Trilogy and are ready for more? Here’s a new sneak peak! Netflix debuted the official trailer and poster for Fear Street Part 2: 1978, the second film in Netflix’s FEAR STREET TRILOGY, releasing as an epic summer movie event over three consecutive
Tag: Horror
Film Review: BLOCK Z
At 28, Mikhail Red is at the height of his career. Imagine, he showed off his directing chops to the whole nation when he became a part of the 9th Cinemalaya Philippine Independent Film Festival at age 21, releasing his debut film under the “New Breed” category called Rekorder — a voyeuristic
Pet Sematary: A welcome resurrection
It’s a tried and tested formula for horror movies: the “be careful what you wish for.” The trope itself carries a pathos to it. Its whole conceit, taking one’s heart’s desire then flipping it to be a great source of dread. The irony, the thought of chasing desire not only
Eeerie: Paved with good intentions
“The road to hell is paved with good intentions.” I am reminded of these lines in thinking of a throughline for the Mikhail Red-directed horror film Eerie. Storywise, the film delivers commentary on how our institutions and internalized preconceptions can be the barriers preventing us from helping those with mental
Review: SALVAGE, a Genre Exercise in Subversion
Warning: Full spoilers ahead. “Te, kailangan ba kitang isama sa frame?” [“Sister, do I have to include you in the frame?”] Barbie (Barbie Capacio), the make-up artist, asks between screams, as she struggles to operate a camera while running for dear life. Out of context, this sentence feels innocuous, dormant. But writer-director Sherad Anthony Sanchez uses
Get Out
An addition to the many great horror films with socially conscious themes, Get Out is a film worthy of everyone’s viewing. Rich with thrills, a budding mystery, and a sharp script, this intense debut feature from writer-director Jordan Peele has all its hype well-deserved and its enormous success duly-earned. The
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Fatal Frame
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A Girl Walks Home Alone At Night
A Girl Walks Home Alone at Night is having its Philippine premiere at this year’s QCIFF. See screening schedules here. This review is taken from the author’s blog dated April 5th. Critics have invoked a shortlist of forebears to Ana Lily Amirpour’s ovni: A Girl Walks Home Alone at Night (2014). The general consensus
Sanctissima
Sanctissima is easily the best amongst the the other short films it screened alongside with, as part of Cinemalaya’s Shorts A block. This is not to say that the short is perfect. The film has many good points as it delivers its promise of very Filipino barrio-set horror. Its flaws
Poltergeist
In the whole, the original “Poltergeist” film is about suburban chaos—an almost-palpable, truly American dread that has the film’s creators, Spielberg and Hooper, jump in on a cutesy little feud on who’s-who to stake claim on a nice minute of Joe Dante glory. (I’m on team Spielberg, just to set things
Always Watching: A Marble Hornets Story
You’ve seen one. You’ve seen them all. Always Watching: A Marble Hornets Story is an off-universe tale from the Youtube series Marble Hornets, which is then based on the Internet-borne concept Slenderman. This horror entity is a tall faceless Caucasian donning a black suit, only visible via cameras or digital
Binhi
Embryonic dormancy Seeds take time to burst out of their coats, push off the overlying soil on top, and be christened as the plant they ought out to be. Binhi (The Seed) takes your patience to establish its suspense through slightly jittery long-take tracking shots, which unfortunately frequently end with
The Taking of Deborah Logan
The collective torment in The Taking of Deborah Logan creeps back to an unenviable happenstance, one that does not enter Adam Robitel’s frames but reverberates to consequences just as sweeping, back in the rise of switchboard answering machines, when data and information are tantamount, and entrusted, with no legal bounds whatsoever,
The ABCs of Death 2
The ABCs of Death anthologies do not necessarily invite to winnow of treasures on a proverbial pile of manure; they encourage its viewers, instead (for the lack of a daintier term), to dig right into the said pile-o’-shit, for there to discover rewarding and beautiful oddments. The finds are unusually
The Woman in Black 2: Angel of Death
The well-oiled mechanics of James Watkins‘ The Woman in Black (’12) see an unintentional “advent” of the so-called “modern tactics” in ghost stories of markedly classicist forms. Taking note from the minimalist flair of Robert Wise‘s The Haunting (1960), whilst remaining cautious to service the modern spectator’s customary jolts, the film and its often wobbly framework may
Tragic Theater
Rape is a difficult subject of conversation, but demonic possession is not. In fact there is a glut of stories and accounts concerning the occult on which people savagely gorge, and with which few and certain people make corporate enterprises. G.M. Coronel, the author of the same-name novel Tragic Theater published some years
Shake, Rattle & Roll XV
Of the annual Metro Manila Film Festival, since the film series’ awakening from its lengthy dormancy until ‘05, Shake, Rattle & Roll is bestowed upon the most daunting task, which is, to present three horror “featurettes” per volume. The scriptwriters has since considered their limiting obstacles, primarily runtime, which, on
Kubot: The Aswang Chronicles 2
A modest slice of entertainment, “Kubot: The Aswang Chronicles 2” is a return to the communal fun of adventures like Gagamboy (’03) and Magic Temple (1996).
Starry Eyes
Starry Eyes begins with a deceptively auspicious start—an obsessed starlet (played by Alex Essoe) stumbles to her first acting job—relying on studious atmospherics that evoke very much the work of David Cronenberg. There is a brooding sense of mystery in the film that is well-built up, and also almost Lynchian,
The Fog
John Carpenter, a known conjurer of fright and respected genre figurehead, refers to his 1980 shocker The Fog as a ‘children’s film.’ The campfire scene early on is perfectly attuned to this notion, so as the number of scare scenes sprawled in the film; yet Carpenter, as ever, exudes a
A Nightmare on Elm Street 2: Freddy’s Revenge
It is from the fest circuits of ’04 and ’05 that Paul Etheredge-Outzs’s film Hellbent is unwarrantedly announced as “the first homoerotic slasher.” However, cultists who are actually familiar with the sub-genre’s history, argue in unison, championing a film more deserving of the title and that has already existed some decades
Violator
For an audience as discerning as the “Dodo” Dayao—his film writings, after all, are compiled in his expansive blog titled “Piling-Piling Pelikula“—the expectations for his film are naturally high. The man, known to a large sample of readers a prolific film critic* and ardent enthusiast, operates with a sense of cutting-edge
T’yanak
Of the plethora of think-pieces that John Carpenter’s Halloween has inspired over the decades, one thought remains most astute of the masked killer Michael Myers. He is not the predator, nature is—because it has allowed his existence, this err. The scene towards the film’s end perfectly illustrates my point: Myers,
V/H/S: Viral
The V/H/S films, as ever true in horror anthologies, are met with timid reception; they are at best uneven compilations of short feature-works by up-and-coming horror filmmakers. It seems a safe presumption that such a franchise can only be the brainchild of genre liberals and bored experimentalists who, by extension,
