Tag Archives: horror

Obsession (2025): When Love Becomes Possession

09 Thursday Jul 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , ,

There is a dangerous lie embedded within modern romance.

We are told that persistence is passion. That determination proves devotion. That if we want something badly enough, we should fight for it. Popular culture has long celebrated the hopeless romantic—the dreamer willing to cross impossible distances in pursuit of love.

But what if that pursuit isn’t love at all?

What if it’s simply obsession?

Director Curry Barker’s Obsession takes that uncomfortable question and twists it into a surprisingly intelligent slice of supernatural horror. On its surface, it presents a familiar cautionary tale about wishes granted at a terrible cost. Beneath that, however, lies something far more unsettling: an examination of desire stripped of empathy, where affection becomes ownership and fantasy begins to overwrite consent.

The premise is deceptively simple. After breaking the mysterious One Wish Willow in an attempt to win the heart of his crush, a lonely young man discovers that his wish has indeed come true. Yet as reality begins to warp around him, he realises that some desires demand far greater sacrifices than anyone could anticipate.

The brilliance of Barker’s screenplay lies in its refusal to treat obsession as romantic.

Too often cinema blurs the distinction between relentless pursuit and genuine affection. Characters are encouraged to ignore rejection, persist beyond reason and eventually earn their happy ending through sheer determination. Obsession dismantles that fantasy piece by piece.

Love requires two people.

Obsession only requires one.

It is here that the supernatural elements become more than narrative devices. The cursed wish functions as an external manifestation of entitlement, exposing the dangerous assumption that happiness can somehow be taken rather than shared. The horror doesn’t emerge from monsters hiding in the shadows; it grows from a mind convinced it deserves another human being simply because it wants them enough.

That is a genuinely frightening idea.

Barker understands that horror has always been most effective when it exposes uncomfortable truths about ourselves. The film isn’t asking us to fear the One Wish Willow.

It’s asking us to question the stories we’ve been telling ourselves about romance.

There is also something refreshingly contemporary about Obsession. Rather than relying solely on traditional horror conventions, Barker captures a generation shaped by loneliness, social media and carefully curated fantasies. In an era where parasocial relationships and idealised online identities have become increasingly commonplace, the film feels acutely aware of how easily longing can become fixation.

Without ever becoming preachy, it quietly interrogates the difference between connection and consumption.

Technically, Barker continues to demonstrate why he is one of the more exciting emerging voices in independent genre cinema. His direction balances moments of tenderness with escalating dread, allowing seemingly innocent encounters to slowly curdle into something deeply unnerving. The supernatural flourishes never overwhelm the emotional core, instead reinforcing the psychological deterioration unfolding before us.

The cast similarly embrace that balance. Performances remain grounded even as the story ventures into increasingly surreal territory, ensuring the emotional stakes never disappear beneath the horror.

Perhaps most impressive is the film’s confidence.

Many modern horror films feel compelled to explain every mystery they introduce, as though ambiguity were somehow a weakness. Obsession is content to leave certain questions unanswered, trusting its audience to wrestle with the implications rather than simply providing solutions. That confidence gives the film an air of unease that extends beyond its central premise.

If there is a criticism, it is that some of the film’s supporting characters occasionally feel underdeveloped, leaving a handful of emotional beats with less impact than they might otherwise have carried. Yet these are relatively minor shortcomings within a film that remains remarkably assured in both its thematic ambition and execution.

What ultimately elevates Obsession above its supernatural premise is its understanding that horror often emerges from ordinary human emotions pushed beyond their natural limits.

Love can nurture.

Desire can inspire.

But obsession…

Obsession seeks to possess.

By the time Barker draws those distinctions into sharp focus, the film has quietly transformed from an entertaining supernatural thriller into something far more thought-provoking.

The Prognosis:

Obsession is far more than another “be careful what you wish for” horror story. It is a thoughtful exploration of modern desire, loneliness and the dangerous confusion between affection and ownership. Curry Barker demonstrates impressive confidence as both a storyteller and filmmaker, crafting a horror film that is as psychologically engaging as it is unsettling. Smartly written, elegantly directed and underpinned by ideas that deserve reflection, Obsession proves that some of the darkest monsters are not supernatural at all—they are the stories we tell ourselves about what we believe we deserve.

  • Saul Muerte

Now available to Rent or Buy

Apple TV – Foxtel Store – Prime Video – YouTube – Google TV – Fetch – Sky NZ

Exit 8 (2026): A Haunting Modern Labyrinth Where Every Step Could Be the Wrong One

15 Monday Jun 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , ,

The daily commute. The same corridors. The same conversations. The same routines that slowly blur one day into the next until time itself begins to feel meaningless. It is a concept that philosophers, writers and filmmakers have explored for centuries, perhaps most famously through the Greek myth of Sisyphus, condemned by the gods to endlessly push a boulder uphill only for it to roll back down again.

In many ways, Exit 8 feels like a modern horror interpretation of that ancient tale.

Directed by Genki Kawamura, this adaptation of the cult video game takes a deceptively simple premise and transforms it into a tense psychological puzzle box. A lone man finds himself trapped within an endless sterile subway passageway. The rules appear straightforward: continue walking if nothing seems unusual, turn back if you discover an anomaly, and eventually find Exit 8. Fail to spot even the smallest irregularity and you are sent back to the beginning.

Simple.

At least in theory.

What unfolds is an increasingly unnerving descent into paranoia, where the audience becomes just as invested in spotting the abnormalities as the protagonist himself.

The Horror of Observation

One of the film’s greatest strengths is its ability to weaponise the mundane.

The subway corridor is almost aggressively ordinary. Fluorescent lighting illuminates spotless walls. Posters line the passageway. Commuters occasionally pass by. Nothing screams horror.

Yet that normality becomes the film’s greatest source of tension.

Every frame invites scrutiny.

Did that sign move?

Was that man always standing there?

Has the corridor become slightly longer?

Kawamura understands that true suspense often emerges not from what is present but from what feels subtly wrong. The audience quickly finds themselves scanning every inch of the screen, searching for details that might reveal the next anomaly.

The experience becomes strangely interactive.

Like the protagonist, viewers are trapped inside an endless game of observation.

The Curse of Repetition

The film’s strongest thematic thread lies in its exploration of repetition itself.

Like Sisyphus eternally rolling his boulder uphill, the protagonist repeatedly finds himself returned to the beginning despite making apparent progress. The endless corridor becomes a metaphor for routine, anxiety and the human desire to find meaning within seemingly endless cycles.

There is a distinctly existential quality to the narrative.

The further the protagonist travels, the more uncertain both he and the audience become regarding whether escape is even possible. The goal remains visible, yet perpetually out of reach.

It is a simple concept executed with surprising depth.

Breaking the Cycle

To its credit, Exit 8 recognises the dangers of becoming trapped by its own premise.

The film occasionally suffers from the very repetition it seeks to explore. There are stretches where the narrative momentum slows and the structure risks becoming predictable. Audiences may find themselves wondering whether the concept has enough substance to sustain its running time.

Fortunately, Kawamura repeatedly finds ways to reinvigorate the experience.

Particularly effective are the moments where the film shifts perspective and broadens its focus beyond the central character. These narrative pivots arrive at precisely the right moments, offering fresh emotional context while preventing the film from becoming trapped within a single repetitive rhythm.

Each shift subtly alters the audience’s understanding of what is happening and why, transforming what could have become a one-note exercise into something considerably richer.

Minimalism as a Strength

Much like films such as Cube, The Platform or Vivarium, Exit 8 demonstrates how a limited setting can become a fertile playground for ideas.

The minimalist approach forces attention onto performance, atmosphere and concept rather than spectacle. Kawamura never relies on elaborate visual effects or excessive scares. Instead, he allows uncertainty and anticipation to do the heavy lifting.

Not because of shocking imagery, but because it taps into something universally relatable: the fear of being trapped within a system whose rules we only partially understand.

The Prognosis:

Exit 8 is a clever, unsettling and surprisingly philosophical piece of genre filmmaking that transforms a deceptively simple premise into an absorbing exploration of repetition, observation and existential dread.

While the narrative occasionally slows under the weight of its cyclical structure, Genki Kawamura consistently finds inventive ways to pull audiences back into the mystery through clever shifts in perspective and an ever-present sense of uncertainty.

Like Sisyphus pushing his boulder uphill, the protagonist’s journey may appear repetitive on the surface, but each attempt reveals something new about the nature of the labyrinth he inhabits—and perhaps about ourselves as well.

Tense, thought-provoking and quietly haunting, Exit 8 proves that sometimes the most terrifying journeys are the ones that never seem to end.

  • Saul Muerte

Home Entertainment Release:
Australian audiences can experience Exit 8 at home through Umbrella Entertainment’s Collector’s Edition release, available here:

Exit 8 (2025) Collector's Edition

It Will Find You (2026): A Supernatural Curse Rooted in Generational Trauma and First Nations Storytelling

02 Tuesday Jun 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , ,

“Some things don’t stay buried. They wait.”

Horror has always thrived on inherited fear.

Curses passed from parent to child. Sins revisited across generations. Ancient evils clawing their way into the present through bloodlines unable to escape the past. Yet for all the genre’s fascination with ancestry and buried trauma, relatively few Australian horror films have explored those ideas through an authentically First Nations lens.

That is where It Will Find You finds its greatest strength.

Directed by Chris Broadbent and Enzo Tedeschi, this independent supernatural horror may operate within familiar genre frameworks, but it distinguishes itself through cultural specificity, emotional sincerity and a willingness to foreground Aboriginal storytelling rather than simply use it as aesthetic dressing.

The result is a film that occasionally shows the limitations of its budget yet consistently punches above its weight through atmosphere, mythology and heart.

The Horror of Inheritance

The story follows Emily, a young woman whose decision to move out of home inadvertently awakens a generational curse dormant for twenty-five years. As those around her begin dismissing her experiences as paranoia or psychological instability, Emily is forced to reconnect with her ancestry and confront the vengeful “giniirr” — a supernatural force demanding repayment for ancestral sins.

The premise itself is not radically new. Horror cinema has explored family curses countless times before. Yet It Will Find You succeeds because it roots those familiar ideas within cultural identity and intergenerational memory.

This is not simply a monster story.

It is a story about disconnection.

About fractured lineage.

About the danger of severing oneself from history and community.

The supernatural threat becomes inseparable from cultural trauma, giving the film emotional resonance beyond its scares.

A Powerful First Nations Voice

Perhaps the most refreshing aspect of It Will Find You is the way it foregrounds Aboriginal mythology without reducing it to exotic spectacle.

Too often genre cinema approaches Indigenous spirituality from the outside looking in, transforming sacred traditions into mysterious background texture for predominantly non-Indigenous narratives. Here, the mythology feels integrated into the emotional fabric of the story itself.

The film understands that horror works best when the supernatural carries symbolic weight.

The “giniirr” is frightening not merely because it stalks or kills, but because it represents unresolved history returning to demand acknowledgement. The curse operates almost as a manifestation of generational pain — something inherited, suppressed and ultimately impossible to ignore.

That thematic undercurrent gives the film surprising depth.

Kylah Day Holds the Centre

At the heart of the film is a compelling performance from Kylah Day.

Day carries much of the film’s emotional burden, grounding the supernatural chaos with vulnerability and determination. Emily’s fear feels genuine precisely because the performance never drifts into exaggerated horror theatrics. Instead, Day plays the role with an emotional realism that keeps the audience tethered to her experience even when the narrative veers into more familiar genre territory.

There is also something quietly powerful in the way the character’s journey mirrors the film’s broader thematic concerns. Emily is not merely fighting a monster; she is attempting to reclaim understanding of who she is and where she comes from.

That search for identity becomes the film’s true emotional engine.

Atmosphere Over Excess

Working with a clearly limited budget, Broadbent and Tedeschi wisely avoid overreaching.

Rather than relying heavily on visual effects spectacle, It Will Find You leans into atmosphere, tension and suggestion. Shadows linger longer than expected. Silence carries weight. The Australian landscape itself becomes part of the unease, simultaneously beautiful and isolating.

There are moments where the film’s ambitions visibly stretch against its financial constraints, particularly in some of the larger supernatural sequences. Yet there is also a sincerity to the filmmaking that compensates for those rough edges.

The directors understand mood.

More importantly, they understand restraint.

The horror often works best not when the film explains everything, but when it allows uncertainty and folklore to bleed together.

A Familiar Framework with a Distinct Identity

There are undeniably moments where It Will Find You falls into recognisable supernatural horror rhythms. Audiences familiar with modern possession and curse narratives may anticipate certain narrative turns before they arrive.

Yet dismissing the film on those grounds would overlook what makes it noteworthy.

Its identity.

Its perspective.

Its voice.

The film does not reinvent supernatural horror, but it does enrich it by telling a story rarely explored within mainstream Australian genre cinema. That alone gives it significance.

And when the emotional sincerity, strong central performance and cultural depth align, the film becomes genuinely affecting.

The Prognosis:

It Will Find You may not possess the polish or scale of larger studio horror productions, but its strengths lie elsewhere. Through committed performances, effective atmosphere and a powerful engagement with First Nations storytelling, the film transforms familiar supernatural ingredients into something culturally resonant and emotionally grounded.

A horror film shaped not simply by ghosts and curses, but by ancestry, memory and the lingering scars of inherited trauma.

Even when uneven, it remains compelling.

And in a genre landscape increasingly hungry for fresh voices and perspectives, that matters.

  • Saul Muerte

The Bride! (2026): Maggie Gyllenhaal’s Punk-Goth Frankenstein Symphony Stitched Together from Beautiful Mistakes

30 Saturday May 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , ,

“Here comes the motherf%#ing bride.”*

Lightning crashes.

Cadavers twitch.

Jazz howls through smoke-filled Chicago streets while grief, lust, feminism and monster mythology stagger drunkenly through back alleys looking for salvation.

Somewhere inside this stitched-up fever dream sits The Bride!, Maggie Gyllenhaal’s gloriously uneven, wildly ambitious Frankenstein remix — a film that often feels like it was assembled from spare cinematic body parts stolen from completely different movies and somehow jolted into life through sheer artistic conviction.

Part gangster picture.

Part Gothic horror.

Part screwball comedy.

Part feminist reclamation.

Part midnight punk opera.

And somehow, despite all evidence suggesting otherwise, it works.

Well… mostly.

Audience reactions have understandably split down the middle. Some viewers will recoil from the film’s tonal chaos and deliberately theatrical excess. Others will embrace it precisely because of those imperfections. Much like Frankenstein’s creation itself, The Bride! is a collection of mismatched pieces searching desperately for coherence and identity.

That may ultimately be the point.

Because between the stitches is where the real beauty lives.

Set within a grime-soaked vision of 1930s Chicago, the film follows a lonely Frankenstein monster seeking companionship from the brilliant Dr. Euphronious. Together they resurrect a murdered woman who emerges not merely as a bride, but as something altogether more dangerous: a being suddenly awakened to the brutal realities of womanhood, oppression and agency within a world built by men.

At the centre of this chaos stands Jessie Buckley, delivering the kind of performance that feels simultaneously possessed and feral. Buckley does not simply play The Bride; she inhabits her like a soul clawing its way out of the grave. There is something distinctly Mary Shelley about the performance too, as though the spirit of Frankenstein’s creator has possessed Ida herself — reclaiming authorship from nearly a century of cinematic interpretations traditionally filtered through masculine perspectives.

The result is fascinating.

The Bride is no passive creation here.

She is fury wrapped in lace.

Trauma dressed in corpse paint.

A walking rejection of the idea that women should exist merely to complete broken men.

Gyllenhaal smartly reframes the Frankenstein myth not as a story about scientific hubris alone, but about ownership. Who controls creation? Who defines beauty? Who gets to decide what a woman should become once she has been “made”?

These themes pulse beneath every frame even when the film threatens to derail beneath its own stylistic weight.

And derail it occasionally does.

There are stretches where The Bride! feels like three different films wrestling each other for dominance. One moment the film channels hard-boiled detective noir straight from a rain-soaked pulp paperback; the next it explodes into anarchic Bonnie and Clyde energy before veering into rapid-fire screwball banter reminiscent of His Girl Friday filtered through Goth cabaret hysteria.

Not every creative choice lands.

Some scenes feel intentionally abrasive.

Others border on indulgent.

Yet criticising The Bride! for inconsistency almost feels beside the point. This is not a film striving for polished elegance. It is trying to become something alive. Something unstable. Something unpredictable.

Like Frankenstein’s monster, its awkwardness becomes inseparable from its humanity.

Visually, the film is intoxicating. Gyllenhaal drenches the screen in cigarette smoke, bruised neon, Gothic shadows and decaying glamour. The aesthetic resembles a haunted comic strip left overnight in a jazz club ashtray. Punk sensibilities collide with old Hollywood artifice, creating a world that constantly feels on the verge of collapse.

Which again mirrors the emotional architecture of the story itself.

Broken people trying desperately to build themselves anew from ruined parts.

For all its stylistic chaos, there is genuine emotional tenderness lurking beneath the scars. The monster at the centre of the film remains tragic not because he is grotesque, but because he longs for connection within a society terrified of difference. That aching loneliness gives the film surprising heart amidst all the madness.

And perhaps that is where The Bride! ultimately succeeds.

Not as a perfect film.

But as a deeply personal one.

You can feel Maggie Gyllenhaal reaching for something larger than conventional horror storytelling. Like her previous directorial work on The Lost Daughter, she remains fascinated by fractured womanhood, suppressed rage and the uncomfortable messiness of identity. Here she simply filters those obsessions through grave robbing, lightning strikes and corpse romance.

The result is divisive.

Beautifully so.

The Prognosis:

The Bride! may frustrate viewers seeking a clean or traditional reimagining of Frankenstein mythology, but its chaotic ambition becomes part of its appeal. Maggie Gyllenhaal delivers a bold, deeply textured and visually arresting work that embraces imperfection as an artistic principle rather than a flaw.

Held together by an astonishing performance from Jessie Buckley, the film transforms female oppression, identity and empowerment into a Gothic punk opera stitched together from cinematic scraps and raw nerve endings.

Not every seam holds.

Not every experiment succeeds.

But monsters were never meant to be perfect.

And neither was this.

  • Saul Muerte

Scream 7 (2026): Ghosts of Woodsboro: When Nostalgia Becomes the Killer

23 Saturday May 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , ,

What’s your favourite scary movie?

Nearly thirty years after Scream reinvented the slasher genre, that question still echoes through horror cinema like a taunt from beyond the grave. Entire generations of fans have grown up alongside Ghostface. They have survived sequels, reboots, legacy-quels, television adaptations, and enough meta-commentary to fill an entire film studies curriculum.

With Scream 7, the franchise returns to perhaps its most familiar face: Neve Campbell‘s Sidney Prescott. It is a decision that feels both inevitable and deeply symbolic. As modern horror increasingly mines its own history for inspiration, Scream 7 asks whether a franchise built upon deconstructing nostalgia can continue surviving by embracing it.

The answer, much like the film itself, is complicated.

The Return of Sidney Prescott

The return of Sidney was always going to be the headline. For many fans, she remains the beating heart of the franchise. Not merely a final girl, but one of horror’s most enduring survivors. Across decades of violence, manipulation, and unimaginable personal loss, Sidney evolved from traumatised teenager into a symbol of resilience. Bringing her back carries undeniable emotional weight.

The film wisely understands this. Rather than reducing Sidney to a cameo or nostalgic accessory, it places her firmly at the centre of the narrative once more. The threat against her daughter provides a natural extension of the franchise’s long-running exploration of generational trauma and inherited fear.

Yet this choice also highlights a growing tension within modern horror. How many times can the same character endure unimaginable suffering before the trauma itself begins to lose meaning? At a certain point, survival becomes expectation rather than triumph. The wounds remain. The impact diminishes.

Kevin Williamson Finds His Voice Again

Perhaps the most fascinating element of Scream 7 is not Sidney’s return but the presence of Kevin Williamson behind the camera. For decades, Williamson’s voice has defined the DNA of Scream. His scripts transformed slashers from simple body-count entertainment into self-aware reflections on horror itself. Long before “meta” became an industry buzzword, Williamson understood audiences wanted more than scares. They wanted conversation.

The move to the director’s chair gives Scream 7 a distinctly different energy from recent instalments. There is a confidence in the dialogue, a familiarity with the franchise’s rhythms, and an understanding of what made the original so culturally significant. The film frequently feels like Williamson reflecting on his own creation. Not always successfully. But often compellingly. In many ways, Scream 7 functions as a conversation between the franchise’s past and present. Sometimes those conversations become arguments.

The Stu Macher Problem

No discussion of Scream 7 can avoid the elephant in the room. Or perhaps more accurately, the corpse in the attic. For years, fans have speculated about the possible return of Stu Macher, despite his apparent demise in the original film. The theory became one of horror fandom’s longest-running debates, fuelled by conventions, interviews, online speculation, and increasingly elaborate attempts to explain how a teenager crushed beneath a television might somehow survive.

Scream 7 finally addresses that mythology. Whether viewers embrace the decision will largely depend upon their tolerance for nostalgia-driven storytelling. On one hand, the return provides genuine excitement and taps directly into decades of fan investment. Horror has always thrived on myth-making, and few characters have inspired more speculation than Stu. On the other hand, bringing back the dead risks undermining the grounded reality that once distinguished Scream from its supernatural contemporaries. The franchise built its reputation on exposing horror clichés. Now it occasionally indulges them. The irony is difficult to ignore.

Nostalgia as Comfort Food

Modern horror franchises increasingly resemble family reunions. Familiar faces return. Old references resurface. Legacy characters reclaim the spotlight. Audiences cheer because they recognise what they loved twenty or thirty years ago.

Scream 7 understands this dynamic completely. The film is packed with callbacks, emotional echoes, and reminders of the franchise’s rich history. Some work beautifully. Others feel less like storytelling and more like fan service carefully engineered for social media reactions and opening-night applause. This creates one of the film’s central contradictions.

The nostalgia often delivers its strongest emotional moments. It also prevents the franchise from fully evolving. Every glance backwards is a step not taken forward. The result is a film caught between reinvention and preservation, never entirely comfortable choosing one over the other.

Trauma Fatigue

Perhaps the most interesting question raised by Scream 7 concerns trauma itself. The franchise has always been interested in psychological scars. Sidney’s journey was revolutionary because it treated survival as something messy and ongoing rather than triumphant and complete. But nearly thirty years later, trauma has become one of horror’s dominant languages. From elevated horror to prestige television, characters constantly process grief, abuse, anxiety, guilt, and emotional damage. Trauma is no longer subtext. It is text. Front and centre.

Scream 7 attempts to continue that tradition, yet occasionally feels trapped by it. The emotional wounds remain theoretically devastating, but audiences have become so accustomed to trauma narratives that the impact can feel strangely muted. This is not necessarily the film’s fault. It may simply reflect a broader cultural shift.

Perhaps horror has spent so long examining trauma that viewers have become desensitised to its narrative power. What once felt revelatory now feels expected. The challenge facing Scream 7 is that it simultaneously critiques and participates in this phenomenon.

The Problem With Looking Back

The original Scream succeeded because it felt dangerous. It challenged established rules. Mocked convention. Questioned audience expectations. It looked forward while dismantling the past. Scream 7 often does the opposite. It celebrates the past. Protects the past. Revisits the past.

There is value in that approach, particularly for longtime fans seeking emotional closure. Yet there are moments when one cannot help wondering what Scream might become if it stopped examining its own reflection. The franchise remains clever. It remains entertaining. But it occasionally feels trapped inside its own mythology. A victim of the very legacy it once gleefully deconstructed.

The Prognosis:

Scream 7 is an enjoyable, thoughtful, and frequently engaging return to Woodsboro that benefits enormously from the presence of Neve Campbell and the creative influence of Kevin Williamson. It understands the emotional attachment audiences have to Sidney Prescott and delivers enough suspense, wit, and self-awareness to satisfy longtime fans.

Yet it also exposes the limitations of nostalgia-driven storytelling. The return of familiar faces, the continued mining of past trauma, and the reliance upon franchise mythology create diminishing returns where innovation once flourished.

The original Scream asked where horror was going.

Scream 7 spends much of its time asking where it has been.

The answer remains entertaining.

Whether it is enough is another question entirely.

  • Saul Muerte

Desire, Identity, and DIY Nightmares: The Serpent’s Skin (2025)

14 Thursday May 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , , ,

There is something undeniably fascinating about the emergence of Alice Maio Mackay as a modern underground horror voice.

In an era where independent genre cinema often bends toward algorithmic familiarity or nostalgia-driven imitation, Mackay’s work feels defiantly personal — rough around the edges, fiercely expressive, and deeply invested in stories of identity, transformation, queerness, alienation, and emotional vulnerability. Her films do not merely use horror as metaphor; they inhabit it as lived experience.

With The Serpent’s Skin, Mackay once again returns to those recurring thematic obsessions, crafting a supernatural relationship horror steeped in desire, insecurity, and bodily transformation. The result is a film bursting with sincerity and ambition, even if its execution occasionally struggles beneath the weight of its ideas.

Horror as Emotional Expression

At its core, The Serpent’s Skin is less concerned with demonic mythology than emotional rupture.

The narrative — centred on two young women whose growing romantic connection awakens supernatural powers and inadvertently unleashes a destructive evil — functions primarily as a framework for exploring intimacy, repression, guilt, and self-perception.

As with much of Mackay’s work, the horror emerges from emotional instability rather than external threat alone. The demon haunting the film feels symbolic of unresolved trauma and insecurity — a manifestation of emotional damage infecting the relationships around it.

This approach gives the film a deeply personal energy, even when its storytelling becomes uneven.

The Voice of Alice Maio Mackay

What continues to distinguish Alice Maio Mackay is the clarity of her voice.

Her cinema exists within a fascinating lineage of queer DIY horror filmmaking — openly embracing melodrama, camp, supernatural iconography, and emotional rawness while rejecting the polished sterility that often dominates contemporary independent horror.

There is an immediacy to her work that feels refreshingly unfiltered.

Mackay’s films frequently centre outsiders searching for identity and belonging within worlds that threaten to reject or consume them. In The Serpent’s Skin, desire itself becomes transformative and dangerous, blurring the boundaries between liberation and destruction.

The film understands that vulnerability can be terrifying.

Style Over Structure

Where The Serpent’s Skin falters somewhat is in its narrative cohesion.

The mythology surrounding the demon and supernatural powers often feels underdeveloped, with certain emotional and narrative beats arriving before the film has fully earned them. Tonal shifts occasionally create a sense of fragmentation, as though the film is torn between intimate character drama and heightened supernatural horror without fully reconciling the two.

Yet paradoxically, some of these imperfections also contribute to the film’s charm.

There is something admirable about a filmmaker prioritising emotional honesty and thematic expression over rigid structural precision. Mackay’s work rarely feels calculated. It feels instinctive — driven more by feeling than formula.

Bodies, Desire, and Transformation

Like much queer horror, The Serpent’s Skin uses supernatural transformation as a metaphor for internal change.

Desire leaves marks here — emotionally, psychologically, physically. Characters shift and unravel under the weight of longing, shame, and unresolved past trauma. The film repeatedly frames identity as fluid, unstable, and vulnerable to corruption, reflecting the anxieties tied to self-discovery and emotional dependence.

This thematic throughline proves far more compelling than the film’s literal mythology.

The true horror is not possession.
It is emotional exposure.

A Rising Cult Voice

Despite its flaws, The Serpent’s Skin reinforces why Mackay remains such an intriguing figure within contemporary independent horror.

She represents a generation of filmmakers reclaiming genre cinema as a space for deeply personal storytelling — unconcerned with mainstream expectations and more interested in emotional truth, queer identity, and artistic self-expression.

Not every experiment fully succeeds, but the sincerity behind the work is undeniable.

And increasingly, sincerity itself feels radical.

The Prognosis:

The Serpent’s Skin is an ambitious, emotionally charged supernatural horror film that further cements Alice Maio Mackay as one of underground horror’s most distinctive emerging voices.

Narratively uneven but thematically rich, the film thrives most when embracing its raw emotional vulnerability and DIY gothic sensibilities.

  • Saul Muerte

The Lost Decade Reclaimed: In Search of Darkness: 1990–1994

13 Wednesday May 2026

Posted by in Uncategorized

≈ 1 Comment

Tags

, , , ,

For decades, horror discourse has treated the 1990s as a wasteland.

A strange cultural dead zone wedged awkwardly between the blood-soaked excess of the 1980s and the postmodern self-awareness ignited by Scream. Conventional wisdom has long suggested the genre lost itself during the early half of the decade — caught between fading slasher formulas, shifting audience tastes, and an industry uncertain how to evolve.

But In Search of Darkness: 1990-1994 arrives not simply to celebrate the era, but to challenge that narrative entirely.

Over the course of its sprawling six-hour runtime, the documentary reframes the early ‘90s not as horror’s creative collapse, but as one of its most fascinating transitional periods — a fragmented, experimental stretch where filmmakers pushed the genre inward, toward psychology, existentialism, body horror, and metafiction.

This was not horror dying.
It was horror mutating.

Horror Between Two Worlds

The early ‘90s existed in the shadow of exhaustion. The slasher boom had burnt itself out, practical effects-driven creature features were becoming financially risky, and mainstream studios increasingly struggled to market horror outside familiar formulas.

What emerged instead was something stranger and more intimate.

The films explored throughout In Search of Darkness: 1990-1994 reveal a genre wrestling with identity itself. Many of these works are steeped in paranoia, decay, and fractured realities — reflecting both the cultural anxieties of the era and horror cinema’s own uncertainty about its future.

And that uncertainty became fertile ground for experimentation.

The Hidden Gems of the Forgotten Era

One of the documentary’s greatest strengths is its excavation of films too often overshadowed by louder genre landmarks.

The Exorcist III emerges as a perfect example — a film long buried beneath the legacy of its predecessor, yet now increasingly recognised as one of the most unnerving studio horrors of its decade. Its procedural structure and existential despair transformed demonic horror into something mournful and deeply human.

Likewise, Nightbreed stands as a fascinating reclamation project. Once misunderstood and butchered by studio interference, Clive Barker’s monster epic now feels radically ahead of its time — a queer-coded dark fantasy about outsiders, persecution, and identity.

The Rise of Psychological and Meta Horror

Perhaps the most fascinating thread running through the documentary is how many early ‘90s horror films became deeply self-reflective.

Wes Craven’s New Nightmare effectively dismantled and reconstructed slasher mythology years before Scream would popularise meta-horror. Meanwhile In the Mouth of Madness saw John Carpenter crafting an apocalyptic vision of fiction infecting reality itself — a cosmic nightmare about media consumption, authorship, and madness.

These were films no longer content with merely scaring audiences.
They wanted to interrogate horror itself.

Even The Dark Half and Body Snatchers channel anxieties surrounding fractured identity, distrust, and societal collapse. Horror had become increasingly psychological, reflecting a world entering the uncertainties of a new decade.

Body Horror, Flesh, and Mutation

Return of the Living Dead 3 transformed zombie horror into tragic body mutilation romance. Body Melt — an especially welcome inclusion given its Australian cult status — weaponised suburban satire through spectacular biological collapse, feeling like a sunburnt cousin to the work of David Cronenberg.

Then there is Cronos, where Guillermo del Toro quietly announced himself as a visionary auteur by transforming vampirism into a meditation on mortality, obsession, and innocence corrupted.

These films understood that horror’s true battleground is often the body itself — unstable, vulnerable, constantly changing.

Anthologies, Gothicism, and Lovecraftian Shadows

Two Evil Eyes united George A. Romero and Dario Argento under the banner of Edgar Allan Poe, while Necronomicon embraced anthology horror through a distinctly Lovecraftian lens.

Meanwhile, films like Dark Waters and Nadja leaned heavily into dreamlike gothic atmosphere, rejecting mainstream accessibility in favour of hypnotic art-horror abstraction.

This willingness to experiment visually and tonally is precisely what makes the period so fascinating in retrospect.

Horror Searching for Its Future

What In Search of Darkness: 1990-1994 ultimately captures so effectively is a genre caught in transition.

The documentary is less about nostalgia than reevaluation. Through interviews with genre icons including Heather Langenkamp, John Carpenter, Frank Henenlotter, Tim Balme, and Michael Gross, the film paints a portrait of horror cinema evolving in real time.

These weren’t safe studio products.
They were risks.
Mutations.
Experiments searching for new language.

And while not every film succeeded commercially, many of them now feel startlingly prophetic.

The Prognosis

In Search of Darkness: 1990-1994 is an absorbing, deeply affectionate reappraisal of one of horror cinema’s most misunderstood eras — a six-hour excavation of forgotten masterpieces, ambitious failures, and genre experimentation hiding in plain sight.

An essential viewing experience for horror devotees, and a powerful reminder that the early ‘90s were never horror’s lost years.

They were simply waiting to be rediscovered.

  • Saul Muerte

Buried Deep: Hokum (2026)

08 Friday May 2026

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , ,

With Hokum, writer-director Damian McCarthy continues his ascent as one of contemporary horror’s most distinctive voices — a storyteller deeply attuned to atmosphere, folklore, and the psychological wounds that fester beneath grief.

Following the unnerving precision of his earlier work, McCarthy delivers perhaps his most accessible feature to date, but crucially, accessibility does not come at the expense of identity. Hokum still bears all the hallmarks of his cinema: oppressive mood, fractured psyches, dark humour, and mythology that feels less invented than unearthed.

This is horror that creeps rather than lunges.
A ghost story told through rot, memory, and rebirth.

The Inn as Psychological Mausoleum

The premise is deceptively intimate. Novelist Ohm Bauman retreats to a remote inn to scatter his parents’ ashes, only to become entangled in whispers surrounding a witch tied to the building’s infamous honeymoon suite.

But McCarthy understands that isolated settings are never merely locations. They are psychological extensions of the characters trapped within them.

The inn in Hokum becomes a liminal space suspended between mourning and transformation — a decaying threshold where unresolved trauma manifests through folklore and hallucination alike. Every creaking corridor and dimly lit room feels infected by memory.

The one-location approach works beautifully here, amplifying the claustrophobia while forcing the audience into the same suffocating emotional space as Ohm himself.

Folklore as Emotional Architecture

What separates McCarthy’s work from more conventional supernatural horror is the way he embeds folklore into the emotional core of his narratives.

The mythology in Hokum never feels expositional or over-explained. Instead, it exists like oral tradition — fragmented stories passed down, distorted through fear and repetition. The witch haunting the inn becomes less a singular entity and more a manifestation of communal grief and inherited guilt.

McCarthy understands an essential truth about folklore:
its power lies not in certainty, but in ambiguity.

The horror emerges from what cannot be fully understood.

Grief, Decay, and Rebirth

Beneath its supernatural framework, Hokum is fundamentally a film about grief — specifically the way grief reshapes identity.

Ohm’s journey is not simply about uncovering the inn’s secrets, but confronting the emotional debris left behind by loss. McCarthy explores mourning as something cyclical and transformative, where death inevitably gives rise to reinvention, however painful.

This theme of rebirth surfaces repeatedly through the film’s recurring rabbit iconography — creatures traditionally associated with fertility, resurrection, and transition between worlds. Here, the rabbit imagery becomes deeply uncanny, suggesting both vulnerability and metamorphosis.

It is one of the film’s most effective symbolic threads, quietly reinforcing the idea that trauma changes us into something new… whether we wish it to or not.

Humour in the Darkness

What makes Hokum particularly compelling is its willingness to puncture its own dread with moments of dry, almost uncomfortable black humour.

McCarthy has become increasingly adept at balancing tonal shifts without collapsing the atmosphere entirely. The humour here does not undercut the horror; it humanises it. It reminds us that absurdity often accompanies grief, that fear and laughter are not opposites but uneasy companions.

This tonal elasticity gives the film texture, preventing it from disappearing entirely into self-seriousness.

Damian McCarthy’s Rising Voice

With Hokum, McCarthy further establishes himself as part of a modern wave of horror filmmakers reclaiming atmosphere and folklore as vehicles for deeply personal storytelling.

There are traces of classic ghost stories here, certainly, but also something distinctly contemporary in the film’s focus on emotional inheritance and psychological fragmentation.

More importantly, McCarthy continues to trust the audience — resisting over-explanation in favour of mood, suggestion, and symbolism. In an era where many horror films feel compelled to spell out their mythology, Hokum allows mystery to remain unsettlingly intact.

The Prognosis:

Hokum is another strong entry in Damian McCarthy’s growing body of work — a haunting, folkloric meditation on grief, identity, and transformation wrapped inside an eerie one-location nightmare.

Atmospheric, psychologically rich horror that finds beauty in decay and terror in rebirth.

  • Saul Muerte

Faith in the Fire: Heresy (2026)

29 Wednesday Apr 2026

Posted by in Uncategorized

≈ Leave a comment

Tags

, , , , , , , , , ,

There is a quiet severity to Heresy, a film that understands that true horror rarely announces itself with spectacle. Instead, it festers — in doctrine, in fear, in the fragile structures of belief that govern isolated communities. Premiering as a Shudder exclusive, this medieval folk horror leans into atmosphere and allegory, delivering a compact yet thematically dense meditation on faith, repression, and the unseen forces that thrive in both.

The Weight of Belief

Set within a remote Dutch village, Heresy wastes little time establishing its suffocating world. This is a society bound not just by geography, but by rigid religious doctrine — where faith is less a comfort and more a mechanism of control.

At the centre is a young woman caught in the crossfire between personal conviction and communal expectation, portrayed with quiet intensity by Anneke Sluiters. Her performance anchors the film, embodying both vulnerability and a simmering resistance that threatens to rupture the oppressive order around her.

Supporting turns from Len Leo Vincent and Reinout Bussemaker reinforce the film’s central tension — figures who oscillate between protectors of faith and enforcers of fear.

Folklore as Fear Language

Where Heresy distinguishes itself is in its use of folklore as both texture and threat.

The woods that loom on the outskirts of the village are more than a setting — they are a repository of whispered myths, ancestral warnings, and half-forgotten truths. The film draws on the traditions of European folk horror, where superstition and reality blur into something indistinguishable.

Witchcraft here is not simply an external evil, but a projection of collective anxiety. It is the language through which the village explains its suffering — failed crops, illness, unrest — and, more disturbingly, justifies its cruelty.

In this sense, Heresy aligns itself with the lineage of folk horror that sees mythology not as fantasy, but as a mirror of societal fear.

Compression and Constraint

At a brisk runtime, the film packs an impressive amount into its frame: hardship, religious suppression, gendered control, and the ever-present spectre of the supernatural.

Yet this compression is both its strength and its limitation.

There is an urgency to the storytelling — a sense that the narrative is racing to articulate its ideas before time runs out. While this lends the film a certain intensity, it occasionally comes at the expense of deeper exploration. Themes are introduced with potency, but not always given the space to fully resonate.

Aesthetic of Austerity

Visually, Heresy embraces restraint. The palette is muted, the compositions stark, reinforcing a world stripped of comfort. Interiors feel claustrophobic, exteriors indifferent. Light is scarce, and when it appears, it feels less like hope and more like exposure.

The sound design complements this austerity, favouring silence and ambient unease over overt musical cues. It is a film that understands the power of absence — of what is suggested rather than shown.

The Horror Within

What lingers most is not the presence of dark forces in the woods, but the behaviour of those within the village walls.

Heresy suggests that fanaticism is its own form of possession — that belief, when weaponised, can be as destructive as any supernatural entity. The true terror lies in how quickly fear transforms into persecution, how readily communities turn inward to purge what they do not understand.

The Prognosis:

Heresy is a thoughtful, if slightly constrained, entry into the folk horror canon — one that balances atmosphere and allegory with a commendable sense of purpose.

A compact and compelling meditation on faith, folklore, and fear, where the line between the supernatural and the societal is unsettlingly thin.

  • Saul Muerte

Heresy Premieres Exclusively on Shudder and AMC+ Friday 1 May

Death Never Looked So Good: Tales from the Crypt Rises Again

27 Monday Apr 2026

Posted by in retrospective

≈ 1 Comment

Tags

, , , , , , , ,

There are horror anthologies… and then there is Tales from the Crypt — a series that didn’t just push boundaries, it gleefully dismembered them, stitched them back together, and laughed in your face as the blood pooled at your feet.

Now, with its resurrection on Shudder, a whole new generation is about to discover what made this corpse such a vital, beating heart of ‘90s horror television.

And for those of us who grew up on it?
This is less a rewatch… and more a reunion with an old accomplice.

The Crypt Keeper Cometh

Front and centre — always — is the grotesque ringmaster himself: Crypt Keeper, voiced with deliciously deranged glee by John Kassir.

He wasn’t just a host.
He was a provocateur. A comedian. A corpse with better timing than most living actors.

Each episode began and ended with his signature brand of pun-laden sadism — a tonal mission statement that told you exactly what you were in for:
this was horror with a grin… and a knife behind its back.

EC Comics DNA: Morality With Bite

Adapted from the infamous EC Comics of the 1950s, Tales from the Crypt carried forward a very specific ethos:

Bad people will suffer.
And they will suffer poetically.

Greed. Lust. Jealousy. Betrayal.
Every sin had its price — and the show delighted in collecting.

What made it land wasn’t just the comeuppance, but the ironic symmetry of it all. These weren’t random acts of violence; they were carefully constructed moral traps snapping shut.

A Playground for the Bold

What truly set the series apart was its ability to attract — and unleash — top-tier talent.

Directors like Robert Zemeckis, Tobe Hooper, and William Friedkin brought their distinct voices to the format, often experimenting in ways that traditional cinema wouldn’t allow.

And then there’s the cast — an almost absurd roll call of talent:

Brad Pitt, Demi Moore, John Lithgow, Christopher Reeve, Catherine O’Hara, Steve Buscemi, Brooke Shields — all stepping into this macabre sandbox.

Even behind the camera, names like Tom Hanks, Arnold Schwarzenegger, and Michael J. Fox took turns directing.

This wasn’t just television.
It was a creative free-for-all.

Gore, Guts, and Glorious Excess

Freed from the constraints of network censorship, Tales from the Crypt revelled in its HBO-backed excess.

The gore was unapologetic.
The language unfiltered.
The tone wildly unpredictable.

One week you’d get pitch-black comedy.
The next, a genuinely unsettling psychological descent.
Then a full-blown creature feature just for good measure.

It was this tonal elasticity that made the series so addictive — you never quite knew what flavour of horror you were about to consume.

The Anthology That Shaped a Generation

Long before the current resurgence of anthology horror, Tales from the Crypt set the template:

Self-contained stories.
Bold creative voices.
A willingness to be weird, nasty, and darkly funny.

You can trace its DNA through modern successors, but few capture that same gleeful irreverence.

Why It Still Matters

Revisiting Tales from the Crypt now, there’s a refreshing lack of restraint. It doesn’t second-guess itself. It doesn’t sand down its edges. It simply commits — to the bit, to the gore, to the punchline.

In an era where horror can sometimes feel overly polished or self-serious, this series remains a reminder that the genre can be:

funny, vicious, stylish… and just a little bit mean.

With its arrival on Shudder, Tales from the Crypt isn’t just being revived — it’s being reunleashed.

And if you’re willing to step back into its coffin-shaped world, one thing becomes immediately clear:

Some stories never die.
They just wait… for the right time to dig themselves back up.

  • Saul Muerte

Tales From the Crypt Series Premieres Exclusively on Shudder and AMC+ Friday 1 May on Shudder