Anya Taylor-Joy The Witch 01

TIFF ’15: ‘The Witch’ is psychological horror at its finest

Robert Egger’s feature film debut The Witch, is a terrifying exploration of a puritanical family’s descent into hysteria. Eggers is stingy with the film’s supernatural elements, preferring to force the audience to decide what is real versus what is a manifestation of the character’s anxieties.

‘When Animals Dream’ is both haunting and beautiful

When Twilight debuted in the aughts everyone assumed that the copycats would last forever. Forever only lasted about four years, but the lasting impact was made by low-key fare like Let the Right One In. Taking a cue from that 2008 film, When Animals Dream places emphasis on atmosphere and dread, rather than buckets of blood.

‘Providence’ #3 baptizes Lovecraft with fire

This is the best issue of Providence yet. It’s entertaining, it carries some emotional weight, and gives you a full, diverse understanding of the world it’s building. Hopefully this series continues to be as challenging and provocative moving forward. Hopefully the creators have more surprises up their sleeves. If this is the best it gets, well, that’s a little disappointing, but I can live with it. Because this issue here at least lets you know that you can hate a creator and love their creation. It is possible — as long as you’re willing to take it back from them. Art is too important to leave in just anybody’s hands. And that message is good enough.

Fantasia 2015: ‘The Blue Hour’ is sexy, intimate and full of dread

The Blue Hour is a beautiful, dark and mysterious ghost story from Thai filmmaker Anucha Boonyawatana. Tam (Atthaphan Poonsawas) is a gay teen who doesn’t fit in at school or within his family. He arranges a meeting with the dashing Phum (Oabnithi Wiwattanawarang) at an abandoned swimming pool. Their hook-up quickly develops into something more serious as they find comfort and safety in each other’s friendship. As their relationship progresses, Tam’s life becomes increasingly confused as he struggles to differentiate dream from reality.


Fantasia 2015: ‘We Are Still Here’ – What’s not to love?

Taking cues from late ’70’s /early ’80s horror (primarily director Lucio Fulci’s The House by the Cemetery and John Carpenter’s The Fog), writer/director Ted Geoghegan’s directorial debut We Are Still Here doesn’t break new ground, but serves as a suspenseful and well-crafted old-fashioned ghost story.

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