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Feature Four Frames

Four Frames: Mandy (Panos Cosmatos, 2018)

There are those convinced George Lucas only ever dreamed up Star Wars so he could sell spin-off toys to kids. And now, nine episodes in (is it nine? you tell me!), movie merchandise helps keep the commercial world a-spinning. Merch can be cool, though – the more unlikely it is, the more “cultish”, the cooler […]

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Feature Podcast

The Big Picture Podcast: Poltergeist

In this, our first Big Picture podcast, Editor-in-chief Gabriel Solomons and Editor Thomas Puhr discuss the 1982 horror classic Poltergeist, picking apart various themes, focussing on hidden meanings and revealing some insights about the film’s poster and iconic objects such as the television, toy clown and the haunted house itself at the centre of all […]

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Feature Four Frames

Four Frames: Staring Into the Unknown in Bird Box

Susanne Bier’s Bird Box (2018) starts, like many horror-thriller movies, with a terrifying premise — a monster that gives the insane power and the innocent death. However, as the movie progresses, I have to wonder if the monster has a deeper meaning regarding the human psyche. Malorie (Sandra Bullock) refuses outside contact as she focuses on her artworks. […]

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Feature

Facing the uncanny: Conor McPherson’s The Eclipse

A man is driving home at night in the Irish countryside when suddenly the ghostly figure of his father-in-law (Jim Norton), his face covered with blood, materializes on the passenger seat. This sudden incursion of the uncanny causes the driver to lose control of his car; presumably, some viewers shudder, and that all the more […]

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Feature Lost Classic

Cube: An Endless Existentialist Escape

Weaving horror techniques with philosophical undertones, Cube (1997) navigates the dark recesses of humanity in a mechanical enigma. In a bright start for his career, Vincenzo Natali co-wrote and directed the movie while still a student in film school. It is perhaps due to this creative freedom – and a low budget – that a […]

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Feature

Overstepping genre boundaries: Séance and Séance on a Wet Afternoon

Bryan Forbes’s Séance on a Wet Afternoon (UK, 1964) starts with mystery-filled images of a séance; Kiyoshi Kurosawa’s Séance (Korei, Japan, 2000, produced by Kansai Television) begins with an academic debate on parapsychological phenomena between a professor and a student. Both films are inspired by Mark McShane’s novel Séance on a Wet Afternoon (1961). Forbes’s […]

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Feature Four Frames

Sociopolitical reality as horror: Joon-ho Bong’s The Host

The Host (Gwoemul, South Korea, 2006) starts with gloomy images in a morgue at an American military base in South Korea. Evil is predicted when a pathologist orders his assistant to dump a large amount of formaldehyde in a drain at the base. A few years later, a monstrous creature emerges from the River Han […]

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Feature Screengem

The bloody petri dishes in The Thing (John Carpenter 1982)

“Ya see, when a man bleeds, it’s just tissue, but blood from one of you Things won’t obey when it’s attacked. It’ll try and survive… crawl away from a hot needle, say.”

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Feature Four Frames

Four Frames: Split (M. Night Shyamalan, 2016)

(Warning: This article contains plot spoilers) M. Night Shyamalan has undergone an identity crisis. The writer, director, and bit-part ‘actor’ of The Sixth Sense, Unbreakable, Signs and The Village came something of a mid-career cropper. With his subsequent movies failing to impress, Shyamalan went from being the new master of suspense and king of the […]

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