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REVIEWS + RECS
13 Ghosts (1960)
⭐⭐1/2
There is something so endearing and in-the-moment about William Castle's gimmicks, their lack of longevity and their dependence on the communal theater
experience. What a treat to see this film in ILLUSION-O in 2025!
There is something so endearing and in-the-moment about William Castle's gimmicks, their lack of longevity and their dependence on the communal theater
experience. What a treat to see this film in ILLUSION-O in 2025!
28 Days Later (2002)
⭐⭐⭐⭐⭐
Game-changing, grungy, experimental, meandering, pensive, scary, raw and resonant. Uses the backdrop of a terrifying viral outbreak to examine human nature at its best and its worst, the fragility of civilization, and our will to survive.
Game-changing, grungy, experimental, meandering, pensive, scary, raw and resonant. Uses the backdrop of a terrifying viral outbreak to examine human nature at its best and its worst, the fragility of civilization, and our will to survive.
28 Weeks Later (2007)
⭐⭐⭐
Action-packed, solid sequel that mostly maintains the look and feel of the first, but doesn’t have the same humanism. It centers on controlling and understanding the Rage virus, and it’s ever so slightly triggering to watch after having lived through a pandemic.
Action-packed, solid sequel that mostly maintains the look and feel of the first, but doesn’t have the same humanism. It centers on controlling and understanding the Rage virus, and it’s ever so slightly triggering to watch after having lived through a pandemic.
28 Years Later (2025)
⭐⭐⭐⭐
28 YEARS LATER is flawed and uneven, but it’s also one of the most unconventional and audacious films of the year. Sure, it’s not what anyone expected, but it still has a lot in common with the first film especially. Trading camcorder for iPhone, YEARS is aggressively shot and edited to achieve a raw feel. It’s violent but also meandering and pensive, just like DAYS. It’s thematically aligned with the first two films—but with a sharp focus on the indoctrination of young men into violence and militarized ideals.
28 YEARS LATER is flawed and uneven, but it’s also one of the most unconventional and audacious films of the year. Sure, it’s not what anyone expected, but it still has a lot in common with the first film especially. Trading camcorder for iPhone, YEARS is aggressively shot and edited to achieve a raw feel. It’s violent but also meandering and pensive, just like DAYS. It’s thematically aligned with the first two films—but with a sharp focus on the indoctrination of young men into violence and militarized ideals.
40 Acres (2024)
⭐⭐⭐1/2
This minimalistic and effectively-built post-apocalyptic scenario explores the philosophy of community and the human will to survive. 40 ACRES features a handful of strong performances, particularly Danielle Deadwyler's, and some of the most incredible night cinematography l've seen.
SPOILERS AHEAD.
There is power and intentionality in the fact that all the family members—who are all people of color—survive, (even with multiple fake-out deaths), but it does seem improbable based on the horrors they face. The cannibals are also easily defeated and not given room to be nastier and scarier. It feels like the movie was on a mission not to be exploitative, but as a result, the stakes felt much lower by the movie’s end.
This minimalistic and effectively-built post-apocalyptic scenario explores the philosophy of community and the human will to survive. 40 ACRES features a handful of strong performances, particularly Danielle Deadwyler's, and some of the most incredible night cinematography l've seen.
SPOILERS AHEAD.
There is power and intentionality in the fact that all the family members—who are all people of color—survive, (even with multiple fake-out deaths), but it does seem improbable based on the horrors they face. The cannibals are also easily defeated and not given room to be nastier and scarier. It feels like the movie was on a mission not to be exploitative, but as a result, the stakes felt much lower by the movie’s end.
825 Forest Road (2025)
⭐1/2
Unfortunately, I was fighting for my life to get through this one despite all the mannequin fu. 825 FOREST ROAD has some decent scares but also a throwaway Netflix movie vibe.
Unfortunately, I was fighting for my life to get through this one despite all the mannequin fu. 825 FOREST ROAD has some decent scares but also a throwaway Netflix movie vibe.
964 Pinocchio (1991)
⭐⭐⭐⭐
A true assault on the senses on a level only peak Japanese cyberpunk can achieve. 964 PINOCCHIO (1991) is rabid, filthy, electrifying and weirdly liberating. Not for those who need a story.
A true assault on the senses on a level only peak Japanese cyberpunk can achieve. 964 PINOCCHIO (1991) is rabid, filthy, electrifying and weirdly liberating. Not for those who need a story.
Abigail (2024)
⭐⭐⭐⭐
Six criminals get more than they bargained for when they kidnap the daughter of a powerful underworld figure. A job that begins as a babysitting gig becomes a blood-soaked nightmare when it turns out their hostage is not your average little girl.🩸Horror fans, TRUST ME: go see ABIGAIL on the biggest screen with the loudest sound and the rowdiest crowd you can find. From the minds behind READY OR NOT and SCREAM V and VI comes this high-octane ballerina vampire flick that delivers on gore and laughs, featuring an ensemble cast that may very well go down as one of the best in horror history.
The Radio Silence directing duo clearly made this movie with their audience in mind. Balancing comedy, action and horror is no easy task, but ABIGAIL walks that tonal tightrope hard—and in pointe shoes. It leans heavily into camp, but it has serious bite too. And no matter which way the film goes, you’re along for the ride because the ultimate goal here is fun. The fight choreography is wild, the characters are deranged, the dialogue is funny (and half ad-libbed!), and the gore is insane. Oh, and the soundtrack BANGS: Tchaikovsky’s Swan Lake theme in all its sinister glory, a handful of serotonin-boosting needle-drops, and a bespoke credits song by experimental pop artist Jean Dawson. Sure, it’s trying to be cool, but also, it’s succeeding.
The cast is pitch perfect, including an ass-kicking Melissa Barrera, a sweet-but-psycho Kathryn Newton, and a truly demented Dan Stevens. And if you’re wary of the fact that this movie hinges on the performance of a child actor, please rest assured that Alisha Weir leaves not a crumb. She is a force. Matilda who??
ABIGAIL also carries the weight of late actor Angus Cloud’s final performance. The movie is dedicated to his memory and serves as a beautiful tribute to a young talent whose undeniable charisma and authenticity are captured here with obvious care. His performance is yet another reason to love this movie.
So if it’s a bloody good time you seek, then ABIGAIL will not disappoint! It’s the younger vampire sister of 2019’s Ready Or Not, it’s a modern-day Breakfast Club dunked in a bucket of blood, and it pretty much rules.
Six criminals get more than they bargained for when they kidnap the daughter of a powerful underworld figure. A job that begins as a babysitting gig becomes a blood-soaked nightmare when it turns out their hostage is not your average little girl.🩸Horror fans, TRUST ME: go see ABIGAIL on the biggest screen with the loudest sound and the rowdiest crowd you can find. From the minds behind READY OR NOT and SCREAM V and VI comes this high-octane ballerina vampire flick that delivers on gore and laughs, featuring an ensemble cast that may very well go down as one of the best in horror history.
The Radio Silence directing duo clearly made this movie with their audience in mind. Balancing comedy, action and horror is no easy task, but ABIGAIL walks that tonal tightrope hard—and in pointe shoes. It leans heavily into camp, but it has serious bite too. And no matter which way the film goes, you’re along for the ride because the ultimate goal here is fun. The fight choreography is wild, the characters are deranged, the dialogue is funny (and half ad-libbed!), and the gore is insane. Oh, and the soundtrack BANGS: Tchaikovsky’s Swan Lake theme in all its sinister glory, a handful of serotonin-boosting needle-drops, and a bespoke credits song by experimental pop artist Jean Dawson. Sure, it’s trying to be cool, but also, it’s succeeding.
The cast is pitch perfect, including an ass-kicking Melissa Barrera, a sweet-but-psycho Kathryn Newton, and a truly demented Dan Stevens. And if you’re wary of the fact that this movie hinges on the performance of a child actor, please rest assured that Alisha Weir leaves not a crumb. She is a force. Matilda who??
ABIGAIL also carries the weight of late actor Angus Cloud’s final performance. The movie is dedicated to his memory and serves as a beautiful tribute to a young talent whose undeniable charisma and authenticity are captured here with obvious care. His performance is yet another reason to love this movie.
So if it’s a bloody good time you seek, then ABIGAIL will not disappoint! It’s the younger vampire sister of 2019’s Ready Or Not, it’s a modern-day Breakfast Club dunked in a bucket of blood, and it pretty much rules.
Absurd (1981)
⭐⭐
The Italian trash horror take on John Carpenter's HALLOWEEN that was released the same year as HALLOWEEN Il and, coincidentally, is also set in a hospital. It's almost entirely forgettable, save the oven kill.
The Italian trash horror take on John Carpenter's HALLOWEEN that was released the same year as HALLOWEEN Il and, coincidentally, is also set in a hospital. It's almost entirely forgettable, save the oven kill.
Adolescence (2025)
⭐⭐⭐⭐⭐
A masterpiece. I rarely use this word, but it applies here. ADOLESCENCE is a heart-shattering, harrowing crime drama involving middle school kids that plays out in four hour-long, one-take episodes. It's a miraculous filmmaking feat carefully designed to unpack the complex emotions and influences surrounding a stomach-churning case. It feels current and honest, depicting the youngest generation and the unique obstacles they face in today's world without pandering or patronizing. As an educator, ADOLESCENCE kicked me right in the gut, but I don't think you need to work with kids or even have them to feel the gravity of this one.
A masterpiece. I rarely use this word, but it applies here. ADOLESCENCE is a heart-shattering, harrowing crime drama involving middle school kids that plays out in four hour-long, one-take episodes. It's a miraculous filmmaking feat carefully designed to unpack the complex emotions and influences surrounding a stomach-churning case. It feels current and honest, depicting the youngest generation and the unique obstacles they face in today's world without pandering or patronizing. As an educator, ADOLESCENCE kicked me right in the gut, but I don't think you need to work with kids or even have them to feel the gravity of this one.
Alien: Romulus (2024)
⭐⭐⭐⭐
The reviews of ALIEN: ROMULUS (2024) are so divided, I’m not sure Alien fans could ever agree on what we want from an Alien movie! I’m a fan of the latest installment, though some things held it back from reaching my towering expectations (expectations that had no business being so high, really).
⚠️SPOILERS AHEAD (and welcome in the comments).
ALIEN: ROMULUS is a pretty rad Alien film made by an Alien fan for Alien fans. Fede Álvarez obviously made this thing with love. It’s seen in the immaculate production design borrowed straight from the first two films. It’s felt in the practical effects, which lend a tactile layer to the scares. It’s heard in the haunting score which conjures outer space, vast and lonely. The Alien DNA is all there: themes are theme-ing, lore is lore-ing, and fans are serviced. Replicated beats and even repeated one-liners from the originals cause the first two acts to play out in a greatest hits mixtape kind of way. It’s fun, but there’s a faint whiff of soullessness about it.
Act One: the setup is unconvincing. The premise is far-fetched and convenient. The characters are mostly forgettable, with the exception of Andy, a defective droid with more humanity, more dimension than anyone else (David Jonsson is phenomenal in this role). Act Two: the CGI Ian Holm is troubling. Including Rook as a character provides a connection to the events of the first film, but there are certainly more tasteful and less jarring ways to render him onscreen.
All that aside, ALIEN: ROMULUS manages to stay compelling (despite aforementioned issues and some questionable character decisions) and nails the “haunted house in space” vibes. It crescendos towards an explosive end, and sometime around the second curtain, it starts to feel like its own thing. Act Three: expectations are met with high-octane action, grotesque body horror, and legendary jumpscares (one that made me nearly pass away), and tonally, Fede oozes through. The finale is both spectacular and intimately scary. The setup for a sequel feels earned, and the franchise is set on a good course. Now, it’s time to hypersleep until we reach that destination. This is Deep Red Perfect Blue, signing off.
The reviews of ALIEN: ROMULUS (2024) are so divided, I’m not sure Alien fans could ever agree on what we want from an Alien movie! I’m a fan of the latest installment, though some things held it back from reaching my towering expectations (expectations that had no business being so high, really).
⚠️SPOILERS AHEAD (and welcome in the comments).
ALIEN: ROMULUS is a pretty rad Alien film made by an Alien fan for Alien fans. Fede Álvarez obviously made this thing with love. It’s seen in the immaculate production design borrowed straight from the first two films. It’s felt in the practical effects, which lend a tactile layer to the scares. It’s heard in the haunting score which conjures outer space, vast and lonely. The Alien DNA is all there: themes are theme-ing, lore is lore-ing, and fans are serviced. Replicated beats and even repeated one-liners from the originals cause the first two acts to play out in a greatest hits mixtape kind of way. It’s fun, but there’s a faint whiff of soullessness about it.
Act One: the setup is unconvincing. The premise is far-fetched and convenient. The characters are mostly forgettable, with the exception of Andy, a defective droid with more humanity, more dimension than anyone else (David Jonsson is phenomenal in this role). Act Two: the CGI Ian Holm is troubling. Including Rook as a character provides a connection to the events of the first film, but there are certainly more tasteful and less jarring ways to render him onscreen.
All that aside, ALIEN: ROMULUS manages to stay compelling (despite aforementioned issues and some questionable character decisions) and nails the “haunted house in space” vibes. It crescendos towards an explosive end, and sometime around the second curtain, it starts to feel like its own thing. Act Three: expectations are met with high-octane action, grotesque body horror, and legendary jumpscares (one that made me nearly pass away), and tonally, Fede oozes through. The finale is both spectacular and intimately scary. The setup for a sequel feels earned, and the franchise is set on a good course. Now, it’s time to hypersleep until we reach that destination. This is Deep Red Perfect Blue, signing off.
All the Colors of the Dark (1972)
⭐⭐⭐⭐
A hallucinogenic gothic giallo featuring a Satanic sex cult, trippy nightmare logic, psychological warfare, mounting paranoia, gorgeous colors, haunting imagery and EDWIGE FENECH!!!
A hallucinogenic gothic giallo featuring a Satanic sex cult, trippy nightmare logic, psychological warfare, mounting paranoia, gorgeous colors, haunting imagery and EDWIGE FENECH!!!
Altered States (1980)
⭐⭐⭐⭐
ALTERED STATES is an absolutely wild, visually insane film with one of the worst male protagonists ever. Just a trip.
ALTERED STATES is an absolutely wild, visually insane film with one of the worst male protagonists ever. Just a trip.
AM1200 (2008)
⭐⭐⭐⭐
AM1200 is an unnerving, well-made cosmic horror short of the corrupted-radio-frequency-on-a-dark-desert-highway variety. Director David Prior (THE EMPTY MAN) should really make more films, and he should definitely put Ray Wise in those films too.
AM1200 is an unnerving, well-made cosmic horror short of the corrupted-radio-frequency-on-a-dark-desert-highway variety. Director David Prior (THE EMPTY MAN) should really make more films, and he should definitely put Ray Wise in those films too.
Anguish (1987)
⭐⭐⭐1/2
Birds, snails, eyeballs, spirals, and an overbearing mother played by Zelda Rubenstein! A bizarre, post-modern look at violence in the movies that makes audiences aware of their own voyeuristic tendencies (and their own eyeballs).
Birds, snails, eyeballs, spirals, and an overbearing mother played by Zelda Rubenstein! A bizarre, post-modern look at violence in the movies that makes audiences aware of their own voyeuristic tendencies (and their own eyeballs).
Annihilation (2018)
⭐⭐⭐⭐1/2
A biologist joins a group of explorers who enter “The Shimmer”, a mysterious quarantined zone where the laws of nature do not apply. Ambiguous, ominous and unnerving, this film is a top-tier eco-horror that explores creation vs. destruction.
A biologist joins a group of explorers who enter “The Shimmer”, a mysterious quarantined zone where the laws of nature do not apply. Ambiguous, ominous and unnerving, this film is a top-tier eco-horror that explores creation vs. destruction.
Anything for Jackson (2020)
⭐⭐⭐1/2
Terrible title, awesome movie. Well-executed, effective horror with creepy
imagery and a thick sense of dread.
Terrible title, awesome movie. Well-executed, effective horror with creepy
imagery and a thick sense of dread.
Apartment 7A (2024)
⭐⭐⭐
The bar was low for a Rosemary's Baby direct to streaming prequel, but this one was surprisingly confident and stylish, though a bit underwhelming. Julia Garner and Dianne Wiest both serve!
The bar was low for a Rosemary's Baby direct to streaming prequel, but this one was surprisingly confident and stylish, though a bit underwhelming. Julia Garner and Dianne Wiest both serve!
Appendage (2023)
⭐⭐⭐
In APPENDAGE, up-and-coming fashion designer Hannah is plagued with self-confidence issues that manifest into something monstrous. Director Anna Zlokovic is unafraid to get weird in this body horror joy ride. The concept, expanded from the springboard short of the same title, is straightforward and the metaphor clear—the parasitic nature of anxiety is to this film what addiction is to Frank Henenlotter’s Brain Damage (and the creature design in this film is certainly reminiscent of Belial from Basket Case). But just when you think you know where Appendage is going, you don’t! A story with many layers and a few unexpected twists, this movie constantly surprises during its tight 94-minute runtime. Check it out on Hulu!
In APPENDAGE, up-and-coming fashion designer Hannah is plagued with self-confidence issues that manifest into something monstrous. Director Anna Zlokovic is unafraid to get weird in this body horror joy ride. The concept, expanded from the springboard short of the same title, is straightforward and the metaphor clear—the parasitic nature of anxiety is to this film what addiction is to Frank Henenlotter’s Brain Damage (and the creature design in this film is certainly reminiscent of Belial from Basket Case). But just when you think you know where Appendage is going, you don’t! A story with many layers and a few unexpected twists, this movie constantly surprises during its tight 94-minute runtime. Check it out on Hulu!
Ash (2025)
⭐⭐⭐
ASH is Lovecraft meets Adult Swim meets Cyberpunk meets God (on DMT). AKA what FlyLo sees when he closes his eyes.
On a distant planet, an astronaut named Riya (Eiza González) wakes up to find the entire crew of her space station has been killed. With little memory of herself, her crew, their mission, or what went south, Riya must decide if she can trust the only other survivor (Aaron Paul) whom she supposedly knows. This cosmic voyage is the latest effort from multi-hyphenate Flying Lotus, and it’s an impressive display of unfettered creativity. ASH has the spark of originality while also sharing DNA with many of the sci-fi/horror classics. It’s an audio-visual treat, with mind-melting music, sound, colors, and textures. That said, the film is so out there in its own dimension that it occasionally loses touch with its audience, suffering from pacing issues, flat characters, and some predictable “unreliable narrator” tropes.
Every time ASH almost lost me, it pulled me back in with some truly wild shit, coming in waves like a trip. And much like being on a trip, my ability to connect with the film fluctuated greatly while watching. Overall, I’d say ASH is a strange and slightly underwhelming experience, but it’s a fun ride for those who go in with an open mind. FlyLo shows promise as a director, and ASH is best enjoyed as an extraterrestrial exhibit of his many talents and psychedelic sensibilities.
ASH is Lovecraft meets Adult Swim meets Cyberpunk meets God (on DMT). AKA what FlyLo sees when he closes his eyes.
On a distant planet, an astronaut named Riya (Eiza González) wakes up to find the entire crew of her space station has been killed. With little memory of herself, her crew, their mission, or what went south, Riya must decide if she can trust the only other survivor (Aaron Paul) whom she supposedly knows. This cosmic voyage is the latest effort from multi-hyphenate Flying Lotus, and it’s an impressive display of unfettered creativity. ASH has the spark of originality while also sharing DNA with many of the sci-fi/horror classics. It’s an audio-visual treat, with mind-melting music, sound, colors, and textures. That said, the film is so out there in its own dimension that it occasionally loses touch with its audience, suffering from pacing issues, flat characters, and some predictable “unreliable narrator” tropes.
Every time ASH almost lost me, it pulled me back in with some truly wild shit, coming in waves like a trip. And much like being on a trip, my ability to connect with the film fluctuated greatly while watching. Overall, I’d say ASH is a strange and slightly underwhelming experience, but it’s a fun ride for those who go in with an open mind. FlyLo shows promise as a director, and ASH is best enjoyed as an extraterrestrial exhibit of his many talents and psychedelic sensibilities.
August Underground (2001)
⭐⭐1/2
The meanest, most disturbing extreme found footage horror out there. The only thing worse, from what I’ve heard, are the other films in the trilogy. What fascinates me about AUGUST UNDERGROUND is how it strips the serial killers of any mystique and the violence of any glamour. The killers are juvenile, vile and sick, and yet they walk around free, blending in, recording mundane life and unspeakably cruel acts on the same videotape.
The meanest, most disturbing extreme found footage horror out there. The only thing worse, from what I’ve heard, are the other films in the trilogy. What fascinates me about AUGUST UNDERGROUND is how it strips the serial killers of any mystique and the violence of any glamour. The killers are juvenile, vile and sick, and yet they walk around free, blending in, recording mundane life and unspeakably cruel acts on the same videotape.
The Autopsy of Jane Doe (2016)
⭐⭐⭐⭐
One of the scariest films of the 21st century. THE AUTOPSY OF JANE DOE (2016) is atmospheric, claustrophobic, and utterly creepy. Plus, it features the best corpse performance of all time.
One of the scariest films of the 21st century. THE AUTOPSY OF JANE DOE (2016) is atmospheric, claustrophobic, and utterly creepy. Plus, it features the best corpse performance of all time.
Azrael (2024)
⭐⭐⭐⭐
AZRAEL is a post-apocalyptic action horror about a girl on the run from a sadistic cult of mutes. It's scary and violent and breathless and WORDLESS. Samara Weaving kicks so much ass!
AZRAEL is a post-apocalyptic action horror about a girl on the run from a sadistic cult of mutes. It's scary and violent and breathless and WORDLESS. Samara Weaving kicks so much ass!
The Babadook (2014)
⭐⭐⭐⭐1/2
If it’s in a word, or in a look, you can’t get rid of THE BABADOOK (2014). Jennifer Kent's directorial debut delivers bone-chilling scares and emotional depth, symbolizing grief and the trials of motherhood with a terrifying and highly original monster.
If it’s in a word, or in a look, you can’t get rid of THE BABADOOK (2014). Jennifer Kent's directorial debut delivers bone-chilling scares and emotional depth, symbolizing grief and the trials of motherhood with a terrifying and highly original monster.
Baghead (2023)
⭐1/2
I could NOT get into this one. The scares didn't hit, and I didn't care about the characters. Seeing people compare it to TALK TO ME is very confusing.
I could NOT get into this one. The scares didn't hit, and I didn't care about the characters. Seeing people compare it to TALK TO ME is very confusing.
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