Author: Derrick Murray

“Bitch Ass” is classic slasher fun, invoking the sentiment “they just don’t make em’ like they use to” with resounding nostalgic fondness.

“Triangle of Sadness” simply can’t let go of its contempt for its characters to be as fun as the satirical portrayal of them should be.

“Tár” is a lot of film, and is elevated by Field’s incredible script and direction as well as Blanchett’s commanding performance.

“Spirit Halloween” bounces aimlessly from family fun to a marketing commercial, never really being imaginative enough to tap into whatever it could be.

“Sissy” is a really fun, subversive slasher that is packed with dark comedy, brutal kills, and some clever commentary on influencer culture

I remember distinctly going through the long list of screenings at SXSW back in March and seeing “Bitch Ass” as a title among the many midnighter options. Obviously intrigued by such a bold title, curiosity got the best of me and I fired it up. I am so glad I did, because the film transported me to a different time in horror, packed with familiar themes that resonate throughout black horror films as well as a number of 90s nostalgia. I was lucky enough to be able to sit down with the mind behind the film, as well as two…

“Deadstream” is a revitalizing entry into a tired genre, blending internet personalities with good old fashioned found footage horror.

“Speak No Evil” becomes a psychological earworm that transforms into unfettered brutality, the likes of which you probably aren’t ready for but were prepared to be caught off guard.

“Hellraiser” 2022 is a beautiful bordello of bloodletting, but lacks the human villainy, cohesion, pleasure, and horniness of its original.

“God’s Country” will most likely be a criminally underrated film, one that falls victim to its understated release and overlooked intensity underneath its slow burn unfolding.