Is Syfy’s ‘Chucky’ the Horror We Deserve?
Chucky is still a doll possessed by a person possessed by a demon, but there’s something far more nefarious going on in Syfy’s new series, Chucky.
Chucky is still a doll possessed by a person possessed by a demon, but there’s something far more nefarious going on in Syfy’s new series, Chucky.
Irreverent and with skin as thick as a pachyderm, mystery author Rex Pickett talks with PopMatters about the forces that compelled him to write The Archivist.
Lee Haven Jones on his debut horror film ‘The Feast’, which is influenced by the ancient Welsh Mabinogion literature of chilling folk tales, legends, and myths.
Is ‘Last Night in Soho’ a critique of nostalgia, or does it use nostalgia to suggest new possibilities for a cross-generational alliance among women and girls?
WWI was underway when silent film Filibus hit theaters, so this elegant, war-free escapism of immorality among the ruling class may have provided mass therapy.
No work has so passionately tapped into the anxieties of Christianity in the wake of Donald Trump as Mike Flanagan’s mini-series, Midnight Mass.
Horror-mystery TV series Kolchak: The Night Stalker has a sour take on society that hasn’t dated since the ’70s; hence, its eternal afterlife.
Director Frida Kempff and writer Emma Broström’s Knocking is haunted by a history of indifference towards the feminine voice.
Addressing pandemic-induced topics such as loss, grief, and mental illness, Marvel’s ‘WandaVision’ serves as a metaphor for life in the time of COVID.
Director Mark O’Brien’s The Righteous, playing at Fantasia 2021, is a quiet and conversationally brooding work.
Is there freedom for the filmmaker and for viewers in the director-revised films that comprise ‘World of Wong Kar-Wai’, or just a forced regression?
Typical of crime dramas, HBO’s Mare of Easttown‘s police and witnesses blatantly display their contempt for sex workers.