The Big Picture Magazine
It’s become somewhat of a British horror tradition to have a plot based around local country bumpkin-satanist types. Elliot Golder’s found-footage debut The Borderlands, with its unfriendly villagers and sheep-burning teenagers, certainly looks as if it’s going that way. It’s quick to pay homage to Kill List (Ben Wheatley, 2011) but swiftly skirts the local […]
What’s Your Favourite Scary Movie? Here at The Big Picture HQ, we thought it would be fun to ask some of our regular contributors what their top ten favourite horror movies are. Do you agree with our writers’ choices? Mark Fletcher Horror has been a staple part of my movie watching since I was a […]
The zombie film was, to excuse the pun, a sub-genre that had flatlined at the turn of the century. Movies thrown together by hacks with low budgets and even lower ambitions had consigned the undead to the DVD shelves. What this sub-section of horror needed was an injection of life, and British genre-spanning director Danny […]
Malignant horror can most effectively be found through forums which are accessible to all, no matter who or where you are. So how better to transfer its influence than by means of such an innocent, yet so intrinsic, part of modern-day life – the humble television set. Over the years there have been countless cinematic representations of portals to […]
To qualify as a Big Picture ‘lost classic’ a movie usually has to have been grossly underwatched due to the lack of a video or DVD release, criminally overlooked by TV schedulers or (uncriminally?) not uploaded to video sharing websites. In the case of Thorold Dickinson’s Victorian psychological melodrama Gaslight (1940) its lost status was […]
For all Disney’s early innovations in the field of animated movement of characters and environments, from the use of rotoscoping to the multiplane camera technique, it is this moment of relative stillness from Bambi that is perhaps his most affecting piece of work. It’s easy to be cynical about Disney, but this truly breaks the […]
Wallowing at the boundaries of what could be discussed — if not actually shown — on screen in 1965, Who Killed Teddy Bear (question mark conspicuous by its absence) must have looked at the time like some sort of paean to perversion. The story itself is a simple B-movie thriller: a would-be dancer, Norah (Juliet […]