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 SPRING BREAKERS and ZOLA than HEREDITARY or THE WITCH. And for good or bad it’s really not in that slow-burn/moody/atmospheric/symbolic vein – it’s pretty much an Agatha Christie inspired whodunit with some blood and some dark humor.
Sophie (Amandla Stenberg, COLOMBIANA, THE HUNGER GAMES) and Bee (holy shit why did I not recognize Maria Bakalova, Academy Award nominee for BORAT SUBSEQUENT MOVIEFILM?) are a new couple, together for about a month and a half. So it’s a big step that Sophie is bringing Bee to meet her oldest friends. There’s a hurricane coming, and they’re all rich kids, and apparently what rich kids do during a hurricane is hole up at somebody’s parents’ remote mansion and have a party. Honestly it seems like a great idea if you have the resources (events depicted in this movie aside). (read the rest of this shit…)
“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.
HALLOWEEN ENDS, the conclusion to David Gordon Green’s 
ACCIDENT MAN: HITMAN’S HOLIDAY is the latest real-deal Scott Adkins movie (like, he’s the star, not just a guest appearance), and joins the first 
There’s this slasher sequel 
HELLRAISER (2022) is the new straight-to-Hulu HELLRAISER movie. It’s a genuine, bonafide reboot, by the original definition of the term – it doesn’t seem to work as a sequel, but it’s certainly not a remake, it’s just starting over, I guess. And it’s certainly a new start in that it’s getting more attention and being treated more like a real, existing movie than the DTV sequels that came out in 2018, 2011, 2005, 2002 and 2000. That’s partly because it’s a polished, well-directed movie with plenty of production value, and it was intentionally written to be the new HELLRAISER. Much of the series, as you may know, was just a perpetual rights retention machine – the Weinsteins ramming Pinhead into an unrelated horror script and dumping one out so they could retain the rights to dump another one out to retain the rights further down the road. Now, at last, the rights have escaped Miramax Hell and are sheltering at Spyglass Media Group (who also got 
I don’t know why it took me this long, but I finally decided to catch up with the two Mike Flanagan joints I hadn’t seen yet (not counting the dramas he made during and immediately after college, or the TV series The Firefighter Combat Challenge). He made his entry into horror in 2006, with a shot-on-video-in-one-room short called Oculus: Chapter 3 – The Man with the Plan. Like George Lucas with 
I just made my second appearance on “‘I Must Break’ This Podcast,” where I seem to go to discuss movies that Dolph Lundgren is briefly in. 
After having a great time with Rob Zombie’s new DTV movie 
MUNSTER, GO HOME! came out in the summer of 1966, a few months after the series ended, and the same day as THE ENDLESS SUMMER. (I hope somebody made that a double feature. I don’t know why.) Like the show, it was released by Universal Pictures, which is why Herman (Fred Gwynne, 
