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Frame Related #2: One Nightmarish Release & 13 Horrifying Picks
It’s the spooky season, so we have a special treat for subscribers to our new-look newsletter!
Below, some of our writers select one of their favourite horror film reviews published on Frame Rated.
And if these picks whet your appetite, remember to visit our Horror archive too. Happy Halloween!
Train to Busan (2016)
“Alexander Boucher’s review of Train to Busan isn’t only an exceptionally incisive piece, analysing the merits of Yeon Sang-ho’s incredible film, but also a deeply heartfelt one. If you’re a fan of zombie films, you’ll appreciate Alexander’s retrospective analysis for his cogent description of the sub-genre. But more importantly, if you were moved by Train to Busan (like I was), then you’ll find this brilliant piece just as emotionally resonant and thought-provoking.” — Conall McManus
The Amityville Horror (1979)
“This is an excellent review by Conall McManus of an influential slasher that older horror fans will have nostalgia for, while newcomers might hopefully discover The Amityville Horror through his writing. There’s a great analysis of the narrative structure as well as insightful commentary on the performances and behind-the-scenes goings-on. Conall also makes astute connections about how effective supernatural horror is rooted in real-world concerns, in this case as a metaphor for house ownership and being trapped in the hell of associated debts.” — Dan Owen
Carrie (1976)
“Barnaby Page’s review of Carrie offers a good overview of the film’s strengths and limitations compared to the novel. However, I think what were typically supposed as the film’s weaknesses are precisely its beauty. Soaked in the jump scares of modern horror, we often forget the sensuality and self-awareness of De Palma’s horror films, from Sisters and Dressed to Kill to The Fury and this, which Stephen King himself has given praise to and compared favorably to his novel (a rarity for his opinions on adaptations of his works). Sissy Spacek has versed herself with the Expressionistic style of acting we see in The Unknown and The Cabinet of Dr. Caligari, which was on glorious display right before Carrie’s revenge, with her face echoing Edvard Munch’s The Scream. The comedy also works both ways. The cartoonishly-timed lightning strike during dinner at the night of the prom only elevated Piper Laurie’s imposing presence. We find ourselves in laughter as our heartbeat races. And in the self-awareness of the humor, the film never loses its compassion for its titular character either. The music evokes something that might’ve been used in an old Disney cartoon, to highlight Carrie’s inner emotional world and innocence, and juxtapose that with her unworldly lack of self-awareness.” — Lance Li
Longlegs (2024)
“Though Oz Perkin’s Longlegs came out months ago, it still seems to be on the tip of everyone’s tongue: there are still screenings of it in cinemas near me. If you’d like to know what makes this film so great, Jonathan 'Jono' Simpson’s excellent review adeptly explains why Longlegs is the scariest film of the year. Drawing attention to the intelligent camerawork, unnerving soundscape, and the rich lineage which Perkins draws, Jono showcases a deep understanding of (and appreciation for) what makes this horror film so frightening, making it well worth a read.” — Conall McManus
Nosferatu the Vampyre (1979)
“I like Werner Herzog’s Nosferatu the Vampyre far more than Conall McManus does, but every one of the flaws he identifies in that strange reworking of the Dracula tale is well-justified in his fascinating review. It’s one of those cases where the reasons a film doesn’t work tell you more about the director and the genre than a glowing hymn of praise would. Herzog fans might not relish the way a treasured film is found so wanting by Conall, but if they’re honest his review will force them to rethink. (Seeing it as belonging to the sub-sub-sub-sub genre of movies about estate agents is a nice touch, too…)” — Barnaby Page
Shaun of the Dead (2004)
“I thought Cian McGrath’s review of Shaun of the Dead perfectly sums up why Edgar Wright’s true film debut remains an absolute masterpiece. While it can be said that a lot of past reviews pick up on its satirical take on modern-day living, there have been few that touched on its technical stylistic choices which are mentioned here; ie the ‘fast-paced montages’ and ‘harsh zoom-ins’. There’s also good commentary on its characters and Wright’s clever use of drama — all in all, a smart and insightful piece.” — Dan Perrin
Blood and Black Lace (1964)
“Remy Dean heightened my enjoyment of Blood and Black Lace to an all-new appreciation. Starting with a simple explanation of the giallo genre and taking the reader on a fascinating history tour of the cultural significance of Mario Bava’s seminal work. Remy deftly places his perspective into the narrative with his own experiences and naturally discusses films before and after that influenced the movement in cinema. And of course, your next viewing of Blood and Black Lace will be enriched with the considerate analysis with the confident tone as if Remy was there himself.” — Devon Elson
Repulsion (1965)
“Repulsion, a classic of the genre that has earned its place as one of the greatest horror films of all time, is brought to life once more in a perceptive review by Barnaby Page, which demonstrates how the movie’s masterful technical elements invite viewers into the disturbed mind of its protagonist. Through keen insights into how its camera angles, compositions and SFX create a terrifying landscape out of a typically conventional setting, Barnaby’s review demonstrates why the discomfiting film continues to linger uncomfortably in viewers’ minds today.” — Cian McGrath
Basket Case (1982)
“Jonathan 'Jono' Simpson’s review of Basket Case, one of the great (and notorious) cult movies of the 1980s, was written about with evident knowledge and affection that’ll please those of a certain age who are already fans and intrigue a new audience. There is plenty of wise analysis as to why this off-beat horror was such a success back then and why it deserves another outing. An entertaining read brimming with valid personal responses as well as clear knowledge of the genre.” — Remy Dean
The Witch (2015)
“Robert Eggers returns to the big screen this year with his highly anticipated Nosferatu remake, making it the perfect time to revisit Andrew Bemis’s review of his directorial debut, The Witch. Andrew carefully examines the atmospheric grotesqueness filling each frame and moment of Eggers’ folk horror tale and places insightful analysis on the connections between Puritan society and our lives today.” — Robert English
Men (2022)
“Barnaby Page expertly unpacks the symbolic elements of Alex Garland’s Men in his review, as well as brilliantly articulating why the haunting power of the movie’s score adds so much to this surreal experience. Barnaby showcases how Garland’s decision to make the movie’s visuals and plot conform to its themes creates a muddled but distinctive climax, with worthy analysis that adds more depth to an already thought-provoking film.” — Cian McGrath
Ringu (1998)
“Alexander Boucher nails the definition of a retrospective with his observations of Ringu. Looking back not just with a keen critical examination of the enduring nature of the Japanese classic, but reminiscing on his own firsthand experiences. Growing up with the trend of curse narratives like The Blair Witch Project and Candyman, there is an intimacy with the horror of Ring that Alexander perfectly evokes. Story and characters are considered, but this piece exemplifies the magnetic power that cinema can hold over us.” — Devon Elson
The First Omen (2024)
“While I am not as enthused by Arkasha Stevenson’s debut The First Omen, Amelia Nancy Harvey rightly gives credit to the filmmaker’s attempt to make it stands on its own without diverging too far from the contextual lore in which it’s conceived. It’s not often that a first time director can pull such a feat off with a right balance of virtuosity and characterisation, never having mired in excess extravagance or concept at the expense of emotional truthfulness. Amelia’s review points out the weaknesses, such as the lore continuity in the last scene, but it deserves the praise and the attention from succeeding at where most horror flicks this year fails alone.” — Lance Li
Wes Craven’s seminal slasher film, A Nightmare on Elm Street (1984), comes to 4K Ultra HD in the UK & ROI on 14 October 2024 with a new restoration.
There’s a regular version (pictured below left) available through Amazon and HMV, a Steelbook with retro VHS-style artwork you can buy at Zavvi (pictured below right), or a Deluxe 40th Anniversary Collector’s Edition that’s currently available at HMV (pictured above) and throws in other bonus goodies.
The price depends on how much you value the quality of disc artwork and paraphernalia like art cards and a booklet, but this Halloween-timed release will cost a maximum of £45. Trick or treat? You decide!
All copyrighted images are used according to the Fair Use doctrine in US & UK law.
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