Here we go with another October, and another struggle to continue the tradition of Slasher Search in some way. The shadowy corners of the shelves have been excavated, the bottoms of the barrels have been scraped squeaky clean, and I don’t know where else to look for vintage slasher movie gold that’s still obscure. If there’s any of the kind of stuff I was looking for left undiscovered, the boutique blu-ray labels are better at finding it than I am. So I’m not really searching for slashers as much as I’m searching for new approaches to Slasher Search.
This year the answer came in a comment from “Dan the Man” on my FACES OF DEATH (2026) review:
“Very long time reader, first time commenter. I have scoured the site and as far as I can tell you’ve never reviewed the French slasher film Orgoff. Slasher Search must continue!”
I had maybe seen the title before, but didn’t know what it was, so I figured this is what I’ll do this year: all requests. If you suggest a movie that I haven’t heard of or at least seems obscure, and I can find it, I will try to review it. (Please try to make it slasher or slasher adjacent and preferably not well known enough to be released on blu-ray.) CJ Holden has already recommended a few more, and I invite you all to add any others in the comments.
Upon further research I learned that Bleeding Skull Video is about to release the first blu-ray of OGROFF, calling it “the zenith of accidental avant-garde horror.” That’s a label that goes for only the most underground of movies (usually shot on video), and it’s currently only up for pre-order, so I’ll say Dan the Man made it just under the wire for OGROFF to be considered eligible for Slasher Search. Theirs is sourced from “the newly discovered U-matic tape masters,” and I don’t know what that means other than it will look better than the Videonomicon dvd I rented. (read the rest of this shit…)
The unanswerable question: is it called READY OR NOT: HERE I COME, or READY OR NOT 2: HERE I COME? Depends if you ask the opening credits or the closing credits. I guess we get to pick.
M.F.A. has a series of murders in it, but it doesn’t have the atmosphere of a horror movie like I would usually review this time of year. I’d say it’s closer to a thriller. It came out in 2017, I’ve been meaning to see it for a while, and unfortunately I was reminded of it by current events. It’s a rape-revenge movie with more parallels to the recent Cornell University case than I expected, but of course it’s not coincidence – it’s a terrible reminder that this is based on things that happen all the time. I have to warn you that although I think this is a respectable movie and not sleazy like 
When BACKROOMS came out in May, I was annoyed by the hype. I kept seeing articles about the rise of “liminal horror” which, as far as I could tell, boiled down to people pretending to be afraid of hallways and empty malls. Like so many annoying things it was born on the internet in Youtube videos and “creepypasta,” which is a word not even good enough to use as a placeholder. I object to its common usage, I resent that I had to repeat it, and I assert my rights as an old person to not have to be totally sure I know its definition. Whatever it is I disagree with it, so I was skeptical of this BACKROOMS, to say the least.
Hey guys, just arrived at the OBSESSION discussion. Got held up by traffic. Is anybody still here? Hello?
FLY AWAY HOME is one of the great PG-rated movies of 1996, and a true family film as opposed to one for kids. It’s for all ages, because it’s about cute animals, but also a 13-year-old girl trying to find herself after life-shattering loss, but also an eccentric adult trying to get his shit together as a parent while staying true to his ideals, and how they do those things together by both caring about the goslings orphaned by developers intruding on their land.
THE SURFER is one of the movies from recent years that I’ve meant to get around to because it seemed like a promising Nicolas Cage role. It’s from the Irish director Lorcan Finnegan (VIVARIUM) and writer Thomas Martin, set and filmed in Australia, and Cage plays a guy who grew up there and has returned to try to buy a house his late father used to own.
A classic scenario: dangerous man and innocent kid on the road, her presence eventually reveals his soft side, as much as he tries to hide it. He learns from her and finds a purpose in protecting her. Some shit goes down and he tries to find redemption and we have a hard time not feeling something for him. In the case of SHE RIDES SHOTGUN (based on the book by Jordan Harper), the kid is Polly (Ana Sophia Heger) and the man is her father, Nate McClusky (Taron Egerton, CARRY-ON). When her mom doesn’t show up to pick her up after school, and her dad shows up all frazzled, she’s definitely scared. Asks if he’s supposed to be there. Yeah, he got out, he says.
THE WEIGHT is a movie playing theaters right now that I’m not sure everybody has heard about. It stars Ethan Hawke (
ONE LAST SHOT is an event movie within the world of indie action: director James Nunn (GREEN STREET 3: NEVER BACK DOWN), writer Jamie Russell and star Scott Adkins have successfully completed an ambitious trilogy. Like 
