I recently got my hands on the Re-Animator 40th Anniversary 4K release, and it absolutely lives up to the hype—this is exactly why collecting physical media is still so rewarding. Not only is the film a cult classic, but this special edition is packed with extras that make it a collector’s dream.
The release includes two discs featuring both the Unrated and Integral cuts, along with a ton of bonus features that dig deep into the film’s production, legacy, and impact. It’s more than just a movie—it’s a full-on celebration of Re-Animator and its place in horror history. If you’re a fan, this edition is well worth adding to your shelf.
As for the movie itself? Re-Animator (1985) is a wild, blood-soaked ride that perfectly blends horror and hilarity. Directed by Stuart Gordon and loosely based on a story by H.P. Lovecraft, it follows the delightfully mad Herbert West, a medical student who develops a serum that brings the dead back to life. What starts as a standard horror premise quickly explodes into something far more outrageous.
Forget slow-burning suspense—Re-Animator throws you headfirst into over-the-top gore, insane practical effects, and a pitch-black sense of humor that never lets up. Jeffrey Combs’ performance as West is iconic, and the film’s chaotic energy makes it an absolute blast to watch.
If you’re in the mood for something gory, funny, and just plain fun, Re-Animator is the perfect pick. And if you love it already? This 40th Anniversary release is the ultimate way to experience it.
*Thank you so much to David Roberson for the DVD copy of this film in exchange for an honest review!
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Watching Pee-wee As Himself feels like peeling back the curtain on one of pop culture’s most fascinating figures. Paul Reubens, the man behind the bowtie and high-pitched giggle, was nothing short of a creative genius. This documentary doesn’t just show you how Pee-wee Herman was made—it reminds you how rare and brilliant it was for someone to invent a whole world, live in it, and get the world to follow along.
Reubens created a character that was joyfully weird, totally original, and unapologetically himself. Pee-wee was for kids, sure—but there was always this wink to adults. He was innocent but rebellious, silly but sharp. What the film captures so well is how Reubens didn’t just play Pee-wee—he was Pee-wee. It was performance art wrapped in Saturday morning cartoons, and it worked beautifully.
But then came the backlash. The documentary doesn’t shy away from the ugly part of the story—how a minor incident turned into a media frenzy and moral panic. It’s hard to ignore how homophobia and cultural conservatism played a huge role in tearing Reubens down. A guy who challenged gender norms, played with camp, and refused to be “normal” was an easy target. The media didn’t just report on him—they wanted to humiliate him.
The beauty of Pee-wee As Himself is that it gives Reubens the space he never really got at the time—to be human. To be more than a headline. It’s both a celebration and a gentle critique of the way fame and queerness have always been in tension in America.
More than anything, the doc reminds you: Pee-wee wasn’t just a character. He was a revolution in red lipstick and saddle shoes.
Now streaming on MAX.
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Valentine’s Day is supposed to be all about love, flowers, and heart-shaped everything. But let’s face it: the idea of watching a rom-com where everything works out perfectly can be terrifying—especially if you’re single or your idea of romance involves binge-watching horror movies. Fear not! This year, you can embrace the true spirit of Valentine’s Day by watching some horror movies that will remind you that love is actually scary. Grab your popcorn (or maybe a bottle of wine, because you’re gonna need it), and let’s dive into these lovely horror flicks:
“My Bloody Valentine” (1981 or 2009)
Okay, let’s be real: nothing says romance like a masked killer in a mining town and a bloody Valentine’s Day massacre. But hey, at least it’s not you being murdered… yet. Whether you watch the original 1981 version (which is delightfully cheesy) or the 2009 remake (which has a bit more modern gore), you’ll get to experience the thrill of someone really taking the whole “killing your ex” idea a little too far. If you’re single, it’s nice to know someone out there has way worse relationship problems than you.
Pro Tip: Try not to scream too loudly. The neighbors might think you’re actually in trouble. Or they’ll just think you have a strange romantic interest in pickaxes.
“The Bride of Frankenstein” (1935)
Let’s take it back to the classics, shall we? “The Bride of Frankenstein” is everything a Valentine’s horror movie should be: mad science, stitched-up lovers, and a strong female lead with questionable relationship choices. Watching Frankenstein’s monster try and fail at romance is a nice reminder that relationships can be a bit of a monster. But it’s okay—sometimes love just needs a little stitching up.
Pro Tip: If you’re feeling particularly romantic, you can dress up like a mad scientist and start your own “romantic experiments.” Who knows? Maybe you’ll create the perfect Valentine. Or, you know, accidentally summon a horrifying monster. Either way, it’s a fun night.
“Teeth” (2007)
Nothing says “I love you” like the horrifying concept of vagina dentata. This psychological horror-comedy about a girl who discovers that her body has a terrifyingly deadly secret is perfect for anyone who wants a Valentine’s Day movie that’s both awkward and extremely unsettling. If you’re having trouble finding love, don’t worry—at least you won’t have to worry about that kind of surprise on your date.
Pro Tip: Watching this movie on Valentine’s Day will either make you want to run for the hills or vow to never go on a first date again. Either way, you’re in for a wild ride.
So, whether you’re curled up on the couch alone or snuggling with your non-horrifying partner, these movies will remind you that love isn’t always roses and chocolates—sometimes it’s body parts, strange creatures, and a lot of uncomfortable situations. So this Valentine’s Day, embrace the horror of it all… after all, what’s scarier than being alone on February 14th?
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The latest adaptation of Nosferatu (2024) is a stunning reimagining of the iconic 1922 silent film that has endured as one of the most influential horror movies in cinematic history. Directed by Robert Eggers, the film blends elements of gothic horror, expressionism, and modern sensibilities to create something both timeless and terrifying.
A Fresh Take on a Classic
Eggers, known for his meticulous craftsmanship in The Witch (2015) and The Lighthouse (2019), brings his signature atmospheric tension and historical precision to Nosferatu. The movie is a reworking of the classic tale of Count Orlok, a vampire whose eerie presence and insatiable thirst for blood spread fear and chaos. While the story remains rooted in the essential beats of the 1922 film, Eggers injects a fresh and chilling perspective into the narrative.
One of the film’s greatest strengths is its refusal to simply remake the original but instead, taking the essence of the 1922 film and amplifying it. It’s not just a retelling; it’s a reimagining for a new era. The movie is steeped in the atmosphere of the 19th century, but Eggers expands the world with deeper emotional stakes, giving us a story that feels both historical and contemporary in its exploration of dread.
Visual and Cinematic Brilliance
The visuals are absolutely mesmerizing. Eggers’ use of practical effects and the gorgeous cinematography by Jarin Blaschke (a frequent collaborator) take full advantage of the eerie landscapes and the haunting visage of Count Orlok, played by Bill Skarsgård. The makeup and prosthetics on Skarsgård are nothing short of mesmerizing, transforming him into a truly otherworldly and grotesque figure. His portrayal of the vampire is a combination of the original Nosferatu’s malevolence and a new level of psychological complexity that makes Orlok both more unsettling and tragically human.
The film’s color palette is steeped in muted tones, with chiaroscuro lighting that evokes the expressionist style of the 1922 film but is done in a way that feels fresh and striking. Eggers embraces modern sensibilities but also pays homage to the heavy use of shadows and visual storytelling that made the silent film so groundbreaking.
A Strong Performances Across the Board
While Skarsgård’s performance as the vampire is undeniably captivating, the supporting cast also shines. Lily-Rose Depp, playing the central character of Ellen, is emotionally vulnerable yet resilient. Her portrayal of a woman torn between the supernatural forces surrounding her and the love of her husband (played by Nicholas Hoult) brings a poignancy to the film that deepens its terror. Depp’s presence is ethereal, almost as though she’s an extension of the haunting landscapes, which enhances the film’s atmosphere.
Nicholas Hoult, known for his versatility, gives a nuanced performance as the doctor who becomes entwined in Orlok’s web. His progression from curiosity to horror is beautifully done, and his chemistry with Depp makes their relationship believable even amidst the supernatural chaos.
Themes of Isolation and Despair
Nosferatu (2024) explores more than just the fear of vampires; it delves into themes of isolation, the human psyche, and the destructive nature of obsession. Much like the original, the film touches on the profound isolation of both Orlok and his victims, but Eggers takes this further, showing how fear and longing can distort reality. The dark, oppressive atmosphere mirrors the emotional isolation of the characters, where the external threats seem to echo internal struggles.
Eggers also plays with the notion of the monstrous as both an outward and inward transformation. Orlok is not just a vampire—he’s a manifestation of our darkest fears, a creature that lurks in the shadows of the human soul. The tension between the supernatural and the human condition makes the story resonate beyond the genre of horror.
The Verdict
Ultimately, Nosferatu (2024) is a triumph of modern horror filmmaking. Eggers has crafted a visually stunning, thematically rich, and deeply unsettling film that successfully reinvents a classic while staying true to the original’s spirit. Bill Skarsgård’s portrayal of Orlok is mesmerizing, and the haunting atmosphere of the film is a testament to Eggers’ prowess as a director.
While the film takes its time to build tension, its slow-burn atmosphere pays off in a finale that is as chilling as it is thought-provoking. Fans of classic horror, as well as those who appreciate more cerebral, atmospheric films, will find much to admire in this 2024 reimagining of Nosferatu. It’s a film that lingers long after the credits roll—both terrifying and beautiful in equal measure.
Rating: ★★★★☆ (4/5)
A masterful reimagining of a classic, Nosferatu (2024) reminds us why horror, when done right, can transcend the realm of pure fright to become something far more profound.
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This wasn’t your usual horror movie – it has body horror, but it’s not horrific until you begin to hear the shriek the monster emits. Hunter Schafer is seventeen-year-old Gretchen who has recently lost her mother and had to relocate with her dad and his new family. She’s not keen on this, especially when they start living in the German Alps and she’s far from her US friends and the life she had there.
Dan Stevens plays the odd, Herr Konig (her dad’s boss) who fixates on her deaf sister Alma. He also offers Gretchen a job at his resort, but insists that she doesn’t work the night shift. Obviously, since this is a horror movie, we find out why when her co-worker asks Gretchen to cover her nightshift.
The movie is a mix of 70’s giallo but as the film progresses and Gretchen acquires more and more wounds, you begin to wonder how she’s going to final girl her way out of this predicament when she looks absolutely massacred. The unease that the characters feel in the movie due to the monster can be felt by the audience. When the monster shrieks, the audience cringes too as the sound is so offputting that you want it to stop. When the characters get stuck in a time loop, the audience feels just as disorientated, trying to figure out if the loop is going to continue or it’s going to end.
Cuckoo isn’t your typical horror movie, and it may not be the type of movie one might enjoy if your flavor of horror is Blumhouse horrors. But if you enjoy weird horror movies that are doing something interesting with the genre, then this might be up your alley.
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The directorial debut of Ishana Night Shyamalan is trying to fill her father’s footsteps in this twisty dark film. Dakota Fanning is Mina, a haunted American artist who lives in Ireland, away from her twin sister who tries to get in touch with her, but she ignores. One day her boss from the pet shop asks her to take a parrot to a remote area of Belfast and unbeknownst to Mina, it’s an area that’s notorious for people going missing. When her car stops in the middle of the forest, she has no choice but to try to find help.
In the forest, she meets another group of people who have been missing for several months but haven’t been able to leave the forest. At night, strange creatures haunt the forest and the group tells her they cannot be outside during that time. The bunker they call “The Coop” has a mirrored wall, where the strange creatures they refer to as “The Watchers” spend hours of the night gazing at them.
The movie has a mysterious atmosphere and the cinematography of the forest is very visually captivating. However, the movie loses its charm somewhere along the way when we’re spoonfed exactly what the creatures are and shots of them are shown. Somehow, the film worked best when “The Watchers” were mysterious beings we knew little about.
I can see why this film flopped at the theatres, but it’s okay to watch on streaming for its strong performances (Fanning is excellent) and original twist. It’s currently streaming on MAX.
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I have been looking forward to seeing this ever since I saw the first trailer for it. February was a weird month, in the sense that I didn’t make it out to the theatre to see it, but I still wanted to see it. I am surprised that it didn’t gross that much during its theatre run and I can’t exactly figure out why. The stars, Katheryn Newton and Cole Sprouse are very popular amongst the younger generation this was Zelda Williams directorial debut and should’ve sparked some interest, and it was a return to horror for screenwriter Diablo Cody.
The premise of the film is a mixture of 80’s teen films like Weird Science and Return of the Living Dead. Lisa (Kathryn Newton) has recently lost her mother and is dealing with a new stepmom and stepsister when the film opens. The only way she has to cope with the loss of her mother is by tending to the grave of a young man who passed away centuries ago. During a lightning storm, said young man (Cole Sprouse) comes back to life thinking that when Lisa says to him she’d want to join him, that she meant she fancied him, and not that she only wants to join him in death.
Thus, begins the hilarious pursuit of trying to conceal having a zombie-like creature in her room whilst also attempting to put him back together again. Newton’s and Sprouse’s chemistry was very tangible and their funny moments are funny. I think the thing that this film did wrong is that they had too much going on for such a short run time – it had body horror, grief horror, and slasher horror – it was almost like they didn’t know which trope to stick to. I also thought that there were few moments in which the characters connected and for being a teen horror, we barely saw Lisa at school. The pacing was a little off, and the party/drug scene lasted way too long.
But this film had a killer soundtrack and it was an overall fun horror movie. I just wish that they had leaned in more towards the comedy aspect since this wasn’t a movie that leaned into the scary elements.
Check it out if you like feminist horror and monster movies.
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When a group of friends discover how to conjure spirits with an embalmed hand, they become hooked on the new thrill and high-stakes party game — until one of them goes too far and unleashes terrifying supernatural forces.
A new take on possession that’s brutal, unexpected, and highly terrifying! I watched this movie twice within a 12-hrs span.
TOTALLY KILLER
Thirty-five years after the shocking murders of three teens, an infamous killer returns on Halloween night to claim a fourth victim. When 17-year-old Jamie comes face-to-face with the masked maniac, she accidentally time-travels back to 1987. Forced to navigate the unfamiliar culture, Jamie teams up with her teenage mother to take down the psycho once and for all.
This is a mash-up between a slasher and Back to the Future. It’s fun and thrilling, and Kiernan Shipka is always a delight.
NO ONE WILL SAVE YOU
Brynn finds solace within the walls of the home where she grew up until she’s awakened one night by strange noises from unearthly intruders.
Usually, alien invasion films aren’t my cup of tea, but this one was thrilling from the very first scene until the very end. You never have a chance to catch your breath, and Kaitlyn Dever is a powerhouse in a movie that she carries on her own and with barely any dialogue at all.
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Usually, I dedicate this spot to movies or books I’ve viewed/read in the past and how my experience may have changed as an adult. However, this was my first time viewing the movie 54, but I do recall it being very popular (in magazines, apparently NOT at the box office as it cost $13 million but only made $16.8 million). For the time, it had all the hot young stars with Ryan Phillippe starring as Shane (and single-handedly carrying a movie on the power of his pecs), Neve Campbell, Salma Hayek, Breckin Meyer, Mike Myers, Heather Matarazzo, and Mark Ruffalo. So that’s a pretty solid cast because these were all very recognizable faces and household names in 1998.
As someone who loves dancing and club culture – I don’t know why at the time I didn’t watch this film other than the fact that it came out during the same time Velvet Goldmine did and that film had a chokehold on me that is still going strong today. But I digress. Studio 54, for any of you (basically all of us) born after the 70s, will not know this, but it was a very popular club that many celebrities went to and was iconic for the whole disco dancing wave that overtook the world at the time. Now, you’d think that a film about club culture and dancing would be a fun experience, right? Well, this is where the film starts derailing into some strange no man’s land of “what is this movie actually about?” We follow Shane (Phillippe) who leaves Jersey one night to go party in NYC and he miraculously gets plucked from a crowd of clubgoers to enter the pearly gates of Studio 54 based solely on his good looks (and we can buy this cause of who is the leading star). This sets the motion for Shane to become a busboy at the club and become friends with a married couple played by Breckin Myer and Salma Hayek. I don’t know what I was expecting but I suppose I was expecting a whole lot of music, a lot of dancing (I know Phillippe is no John Travolta but shouldn’t the lead be expected to dance in a movie about club life? Was I wrong to expect this?). Also, this was the 70s and again (maybe Velvet Goldmine, a movie about the glam rock era of the 70s gave me unrealistic expectations along with Pamela Des Barres many memoir books of that time) but I was expecting way more drug consumption than was depicted and a whole lot of kinky sex.
Instead, what we got was tame sex, bland fictional characters, and the only major shock wave thing that happened was when a clubgoer OD’s whilst the IRS is searching for the owner. I was expecting a more magical experience of this era that so many seem to reminisce with nostalgia. I really wanted to feel the biggest FOMO of my life (as I do whenever I see concertgoers in Velvet Goldmine grab their feather boas and run across London). Instead, I was left with this weird feeling of dodging a bullet in a seedy club (maybe the real one was awesome but the way it was depicted in the film, it didn’t seem like anything special?).
Now it’s said that initially, the director had intended for Shane to be bisexual in the film however, the producer Harvey Weinstein was against it, so any undertones of bisexuality were removed from the film and many scenes were reshot. I did watch the missing scenes, and I feel like it could’ve been a more moving movie in regards to the viewer witnessing Shane’s journey, as well as representing bisexuals on film.
Maybe the original director’s idea for the film would’ve been a lot more fun and poignant had he not had to cut out a lot of scenes which then left the second half of the film feeling a bit disjointed from the beginning. It could’ve been an amazing film about club culture, disco music, and how it was a safe place for gays during a time when no other place was safe. Instead, what we got was a movie that mostly exploited the male lead’s body without really giving us viewers the emotional depth needed for us to care about him.
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“The family that slays together, stays together,” is the motto of the Child’s Play documentary. I watched this several weeks ago, however, wasn’t able to post about it earlier due to March being dedicated to the Women in Horror Month interviews I had planned. I’ve always been a huge fan of killer dolls, ever since I watched the 80’s horror Dolls. Then when I was younger, my mum’s friend had me watch Child’s Play for the very first time, and I became obsessed both with the character of Chucky and the trope of killer dolls.
What sets this documentary apart from other horror documentaries is that you soon start to notice that many of the crew members that began working on the franchise are still working on the franchise and series today. It’s almost as if Chucky has somehow created a big horror family out of Don Mancini’s creation. Even the actors, like Jennifer Tilly who claims to be retired from acting, will make an exception to be on the Chucky series.
The documentary doesn’t explore the new SyFy series, but it doesn’t go in-depth about each film from the franchise, and how Chucky has evolved over the years. It was really interesting to see how the first screenplay came to be and how it has grown as a franchise. If you’re a fan of Chucky, I suggest that you don’t miss this one out. You can currently watch Living with Chucky on Screambox or Blu-Ray.
*Thank you so much to Emma Griffiths & Cinedigm for an early screening of the movie.
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The Inkblotters 