Author: Dominic Duquiatan
Sucking dry its predecessor’s persisting legacy as one of the preeminent vampire movies of the 21st century, 30 Days of Night: Dark Days forces a change of pace and goes kaput in delivering an equal or even ranging proximity with the first installment. Withdrawing from the first film’s zealous efforts just to push a sequel,
Discussions on snuff films will always include the controversial Japanese horror series Guinea Pig, which garnered a cult trailing that even prompted an FBI investigation after its release. However, other horror films occupying the same premise are either overlooked or unseen due to lack of audience regard or distribution. One of them is Kim Jin-won’s
30 Days of Night, David Slade’s second offering in a diverging filmography, manifests itself as a stimulating spin for survival film junkies and vampire lore hounds. Notwithstanding falling short of connecting its characters to the viewers and leaving several holes unattended, it still has neat touches that would delight even modern viewers who are desensitized
“You become what you believe” seems to be an enthusiastic phrase until you watch Josh Stifter’s black comedy horror Greywood’s Plot. Born out of a low-budget production and undying devotion of four friends, Greywood’s Plot is an admirable endeavor that proves imagination is man’s only limit. Screening at U.K’s biggest horror film festival, Frightfest 2021,
Jigoku narrates the tragedy of unatoned wickedness with poetic piquancy, proving that Japan and horror are efficacious accessories that constantly innovate cinema. As expected from the monumental master of Japanese horror, Nobuo Nakagawa‘s seamless combination of surreal imagery and horror: a feat that breathes frenzy and immortality to a classic and timeless arthouse horror. The story
“Czech Karel Kopfrkingl enjoys his job at a crematorium in the late 1930s. He likes reading the Tibetan book of the dead, and espouses the view that cremation relieves earthly suffering. At a reception, he meets Reineke, with whom he fought for Austria in the first World War. Reineke convinces Kopfrkingl to emphasize his supposedly