TERRIFIER 2 is a genuine little-slasher-sequel-that-could phenomenon manifesting right here in the excellent horror year of 2022. This is the $250,000, ultra-gory evil clown movie that not only finagled an unrated limited theatrical release, but did so well (and got so much press from reports of puking and fainting at screenings) that they added more showings the week after that, and the week after that, and the week after that. It was the movie that finally nudged TOP GUN: MAVERICK out of the top ten, and Variety says it “shocked the industry” doing so well with “next to zero mainstream marketing.”
It’s now made almost $8 million, which is tiny compared to any blockbuster, but it’s about five times what last year’s best picture winner CODA made. So unless I misunderstand how this works, writer/director Damien Leone better make room for five best picture Oscars on the shelf next to part 1’s trophies for ShockerFest Audience Choice Award and Louisville Fright Night Film Fest “Best ‘Grindhouse’ Film.” And I try to watch all the most classy and acclaimed motion pictures so I set aside my belief that evil clowns are corny to watch TERRIFIER, and I liked it enough to go see TERRIFIER 2 when it came back to Seattle last Friday. (read the rest of this shit…)
Happy Halloween, everybody! Several years ago I started an annual tradition of challenging myself to write about on an all-time horror classic, probing deep into what makes it great and/or meaningful to me at that moment in time. This year I decided to do it a little different and point my flickering flashlight at one of the less respected films by a certified Master of Horror.
In 1974, in Austin, Texas, a former college professor and indie-film tinkerer suddenly made one of the greatest horror movies of all time. 
I was aware of this 2009 movie REYKJAVIK WHALE WATCHING MASSACRE (retitled HARPOON: WHALE WATCHING MASSACRE for us ignorant Americans) because it’s an Icelandic movie that has that title and then Leatherface himself, Gunnar Hansen is in it. Sounded like a spoof, I thought, but it’s not. It certainly has humor in it, but so does that other movie Hansen is most famous for. This is a solid, legit horror movie, with an extra layer of meaning if you’re a 
SALOUM (2021) is kind of an action movie, kind of a western, ultimately a horror story. The promotional materials classify it as a “southern,” because it’s from Senegal. It might be the first movie I’ve seen from a Congolese director; his name is Jean Luc Herbulot, and this is his second feature, after DEALER (2014), but he also created a TV show called Sakho & Mangane, which is on Netflix. SALOUM has some ghosty business in it, though, so it gets to be on Shudder.
I haven’t seen Joe Dante’s PIRANHA in many, many years, but here I am reviewing the remake. No, not Alexandre Aja’s Dimension Films version 
During this year’s October viewing I wanted to revisit a few things that I consider lesser movies from directors I like, that I haven’t seen since they came out decades ago. You know – just to be sure.
MEN is this year’s film from Alex Garland (writer of 28 DAYS LATER, 
WATCHER – not to be confused with the Netflix show The Watcher or the Keanu Reeves movie THE WATCHER or the early UPN anthology series hosted by Sir Mix-a-Lot The Watcher – is an excellent psychological horror/suspense thriller that’s a Shudder exclusive and also came out on blu-ray and DVD a few weeks ago. Maika Monroe (
Though BODIES BODIES BODIES is one of this year’s crop of A24 horror releases, its slick filmatistic style, hedonistic twenty-something characters and aggressive electronical dance music soundtrack remind me more of non-horror A24 movies like 
“Motherfucker, there are coffins in the basement!”
This is not an official announcement of an ending to Slasher Search – just a realistic assessment that there aren’t many more of what I’m searching for out there. So I’ll share them with you when I find them, but I hope you won’t be disappointed if they end up being few and far between.
