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We're still a couple of weeks away from the release of Bring Her Back, but early reviews have hit Rotten Tomatoes to reveal that Talk to Me directors Danny and Michael Philippou seem to have another horror hit on their hands. Starring two-time Academy Award nominee Sally Hawkins (The Shape of Water) and Billy Barratt (Kraven the Hunter), Bring Her Back follows two siblings who uncover a terrifying ritual at the secluded home of their new foster mother.

Debuting on Rotten Tomatoes with a 95%, Rocco T. Thompson from Slant Magazine says Bring Her Back "has a white-hot nerve of pain running inside it that burns right through the screen." Ross Bonaime from Collider echoes those sentiments, while also calling the Australian film one of the best horror flicks of the year:

"Bring Her Back captures the darkness and fear of losing someone, all while making one of the year's best horror films.

Lauded by Stephen King as "one of the best movies I've seen this year" in 2024, James Ashcroft's The Rule of Jenny Pen pits a former judge recovering from a stroke (Geoffrey Rush) against a sadistic resident with a creepy doll (John Lithgow) within the increasingly eerie confines of a retirement home. Ahead of its March 7th theatrical release via IFC Films and Shudder, we have a look at the unnerving teaser trailer for The Rule of Jenny Pen that warns that "we all get what's coming to us in the end."

Below, you can watch the teaser trailer for The Rule of Jenny Pen, and in case you missed it, read Rocco T. Thompson's Fantastic Fest review of the film!

Synopsis: Arrogant Judge Stefan Mortensen (Rush) suffers a near-fatal stroke, leaving him partially paralyzed and confined to a retirement home. Resistant to the staff and distant from his friendly roommate,...

Horror, namely how it finds its audience, continues to evolve in ways that confound studio executives and in the process prove the durability of the genre. For all the hand-wringing about supposed “horror fatigue” and the persistent urge to bury a genre that’s remained profitable even in (oftentimes especially in) the worst of times, 2024 proved once again that demons and psychos and killer clowns are as popular as they’ve ever been—just not necessarily those that have a big studio label seared into their clammy flesh.

If horror in the 2010s was dominated by aging juggernauts like Paramount and molded by the growing dominance of younger, hipper, genre-focused studios like A24 and Blumhouse, the chaotic 2020s are, fittingly, increasingly being shaped by less predictable players. Damien Leone’s Terrifier 3, distributed by Cineverse, kicked Joker: Folie à Deux to the curb in its first weekend, and now it...

The seminal horror author Stephen King has become a go-to source for many when it comes to upcoming movies to get excited about. And the writer behind the likes of The Shining and It has now hyped-up a movie in the horror genre, taking to social media to urge audiences to watch The Rule of Jenny Pen (2024) when it lands on the streaming platform Shudder in 2025. King even calls the thriller one of the best movies hes seen this year, with this tale of a judge who, after being confined to a retirement home following a stroke, must stop an elderly psychopath who uses a child's puppet to terrorize the other residents. See what King had to say about The Rule of Jenny Pen below.

I watched one of the best movies I've seen this year. It's called The Rule Of Jenny Pen, and I urge you to watch it when it appears on Shudder.

“I’m telling you, if you want boys to respect you, you have to show them that you’re serious. Blow something up. Shoot someone. Nothing gets a guy’s attention like violence.”

We’re told that behind every successful man is a badass woman, a partner in crime perhaps pulling the strings. But what if that man is a murderous psychopath? What do his actions say about the woman at his side? And who will she be when she steps out of his shadow? Harley Quinn was created to be a sidekick and romantic partner for the iconic criminal Joker known for terrorizing Gotham under Batman’s watchful eye. But Harley gets her own story in the 2020 film Birds of Prey and the Fantabulous Emancipation of One Harley Quinn. Cathy Yan’s girly-pop take on the superhero genre sees this iconic bad girl step into the spotlight and find...

“You know I don’t like blondes.”

When referring to orgasm, the French use the term la petite mort which literally translates to “the little death.” At first glance, this seems morbid – why would we want to think of our own mortality in such a moment of extreme ecstasy – but at closer glance, sex and death may have more in common than meets the naked eye. After all, who hasn’t enjoyed the feeling of death and rebirth while basking in the glow of post-coital relief? Films dedicated to each bear out this connection as well. Horror and porn, both maligned and misunderstood, deal with bodies on screen – the giving and receiving of exquisite pleasure or pain. And that’s not to mention the many phallic weapons and stabbing acts of penetration scary movies are known for. Ti West explores this overlap in his throwback slasher X. By following the...

With the global rise of fascism, increasingly frequent and brutal climate crises, and an upcoming U.S. election that no one short of the Cenobites from Hellraiser is looking forward to, it’s no surprise that cinema in 2024 has been grappling with some heavy and heady existential themes. Fear and anxiety thus play a central role in numerous films on our list, both in relation to concrete concepts like sexual assault and corporate malfeasance or more nebulous ones embodied by sound or even left invisible altogether, though still strongly felt.

Even if the general feeling of impending doom is increasingly in the air, certainly not every filmmaker felt the need to surrender to nihilism or despair. Radu Jude’s Do Not Expect Too Much from the End of the World is, yes, a dystopic vision of modern society, but the aims of this raucous, wily satire are scarcely didactic. And...

“The Queen must ride alone.”

Grief is the great equalizer. No matter how hard we try to repress our pain after facing immense loss, sooner or later, the overwhelming emotions will find their way to the surface. Sometimes it feels good to let the feelings fly and other times–largely due to our surroundings–expressing grief sparks a spiral of shame that only leads to more pain and sorrow. Ari Aster’s Midsommar tackles themes of repression and catharsis in a sunny folk horror film that hits like a breath of fresh air. By following Dani (Florence Pugh) on a journey to accept her pain, we watch her rid herself of a great emotional burden and finally find peace in the depths of her sorrow. But are her actions murderous? Are they understandable? What would we do if placed in the same position? The Lady Killers podcast teases apart this tangled web of toxicity,...

“They’re not as nihilistic as they look on the internet. That’s just what they want you to think.”

If there’s one thing Gen X and Elder Millennials have over the youth of today, it’s the memory of life before the Internet. We committed our mistakes without phone cameras constantly rolling and our youthful mistakes have been lost to time. Sure we were limited by geographical location and had to actually (gasp) talk on the phone, but we maintained a physical presence in all interactions and had to answer for our missteps as they stared us in the face. Halina Reijn takes a group of Gen Z friends back to this archaic reality in Bodies Bodies Bodies, a murder mystery set during a wifi-disrupting storm. Forced to interact without the assistance of a screen, these toxic friends descend into murderous chaos.

Just six weeks after sobering up,...

“A crying woman is a scheming woman.”

Women are supposed to be natural caregivers. Once we become mothers, we’re expected to put aside our own physical pleasures and dedicate our lives to protecting our young. But what of the mothers who can’t keep their children alive? The women who fail in the one job they were made to fulfill? Even worse, what if this death is an act of neglect? Rather than hover and dote, what if a mother indulges her own physical pleasure at the cost of her child? Would we call that woman evil? Would we call her a witch? Lars von Trier reckons with the expectations we place on women in his controversial film Antichrist. By exploring the natural urges of a grieving mother, he interrogates the patriarchal construction of evil itself.

She (Charlotte Gainsbourg) and He (Willem Dafoe) are a married couple enjoying domestic...

“You killed my son! And, now, I kill you and I can’t think of anything more rational.”

Compared to traditional slasher fare, there are many things that set the Scream franchise apart: multiple survivors, metatextual commentary, Matthew Lillard, the list goes on and on. But one of the most unique aspects of this beloved string of films is the fact that anyone and everyone could be the killer. With no supernatural elements or sub-human weapon-wielders, only a confirmed kill can eliminate a character from the suspect list. Many charismatic villains have donned the ominous Ghostface mask, but none so complex as the one revealed in Scream 2. Running on vengeance, grief, and motherly love, Mrs. Loomis (Laurie Metcalf) manipulates a psychotic young man and picks up the knife herself in an elaborate plan to seek revenge for the death of her son.

After surviving what has become known as the Woodsboro Murders,...

“She’s mine, and I’m hers.”

The prison movie is a cornerstone of the cinematic landscape. Often adjacent to horror, there’s something inherently horrific about a building full of “convicts” jockeying for power. Criminal masterminds and the wrongfully convicted alike become pawns in a dehumanizing system and struggle to stay alive in the restrictive environment. Claire Denis pushes this genre to its outer limits with sci-fi and horror elements comparing incarceration to the prison of the human body. Her 2018 film High Life follows a group of prisoners turned astronauts who struggle to retain their humanity after the world has cast them out.

When we first meet Monte (Robert Pattinson), he’s raising a toddler on an isolated space station in the galaxy’s outer reaches. His daughter Willow was conceived through assault by fellow inmate Dr. Dibs (Juliette Binoche) as a part of her mission to reproduce in space.

“You’d be a good mom someday, Auntie Beth. You know how to lie to kids.”

In 1981, visionary director Sam Raimi unleashed The Evil Dead and changed horror forever. This tentpole franchise not only popularized the “cabin in the woods” subgenre but remains one of the most creative and bloody sagas in the genre’s history. We first meet the Kandarian Demon in the remote woods, attacking Ash (Bruce Campbell) and his ill-fated friends. But the evil dead know no bounds and cannot be contained by geographic location. Lee Cronin’s 2023 sequel Evil Dead Rise sees the Necronomicon reemerge from the bowels of an LA high rise. Rather than a group of college coeds (and some medieval knights), this Kandarian iteration squares off against an unsuspecting mom and her likeable family. It’s the perfect film for Horror Movie Mothers Day as the terrifying deadites bring gory destruction instead of chocolates and a corsage.

The Current Debate is a column that connects the dots between great writing about a topic in the wider film conversation.Civil War.Every now and then there comes a film so in tune with our pestilential zeitgeist as to earn that most dangerous of descriptors: important. I can’t think of many words more vacuous, not only because of all the questions it leaves unanswered, but also because of the argument it peddles: that a film’s ability to sponge the mood of our times should count as an artistic merit. A film is important because it deals with important topics, or so the logic goes; it is necessary because these are things we all should care about, lessons we ought to treasure, and warnings we must heed. In this Neanderthal worldview, art is reduced to propaganda, and audiences to crowds who must be educated and pandered to. But...

“Chip! Our mother is Charles Manson!”

What does it mean to be a good mother? Is it the ability to cook the perfect meatloaf or a talent for bird calls? Is it an impeccably turned out family each Sunday morning and an organized recycling setup? These may be important to a picture-perfect suburban life, but when it comes to being an effective mother, they’re merely window dressing. What truly makes a mother succeed is a dedication to the wellbeing of her children. But should that extend to murder? John Waters explores these questions in the 1994 film Serial Mom featuring a murderous mom who will do anything to give her kids a happy life.

Beverly Sutphin (Kathleen Turner) is the picture of maternal perfection. Her charming children and dreamy husband gather around the breakfast table each morning to discuss their lives and the hot button issues of the day. But...

“I am every little girl you ever watched, touched, hurt, screwed, killed.”

Being a teenager is hard. In addition to raging hormones, awkward social interactions, and the never ending quest to be cool, every action, choice, or identifying marker may be ruthlessly picked apart by peers just as concerned with maintaining their own social status. Elder millennials and older generations were lucky to go through these awkward years without social media to document every misstep or well-intentioned faux pas. The predators we were taught to fear operated out of shadowy vans or crowded food courts and stranger danger was the law of the land. In addition to the stress of social media, the teens of today must be on the lookout for catfishing creeps who lure them in with charming online personas, deceptive avatars, and manipulative DMs. David Slade’s 2005 film Hard Candy explores the early days of this new...

“This is life’s ultimate cruelty. It offers us a taste of youth and vitality, and then it makes us witness our own decay.”

Is there anything more terrifying than the relentless passage of time? It’s a bitter truth that just when we’ve become accustomed to our bodies, the sands of time turn and we’re forced to watch them slowly break down in a cruel march towards inevitable death. But what if there were a way to stop the aging process – a potion that would return us to our peak physical condition and hold us there until the end of time? Would we take it? And would we eventually find that the blessing of perpetual life is actually a curse? No film explores this dilemma quite like Death Becomes Her. Robert Zemeckis’ 1992 horror comedy pits two showstopping divas against each other for a single spotlight while asking...

“It has nothing to do with Satan, Mama. It’s me. Me. If I concentrate hard enough, I can move things”

Is it possible to go to prom these days without thinking about Carrie? Brian De Palma’s 1976 adaptation of Stephen King’s debut novel has become so ingrained in the zeitgeist that it’s nearly impossible to shop for a prom dress without a fleeting fear that it might become covered in blood. And perhaps that’s a good thing. Revolutionary at the time, the story concludes with a shocking act of righteous revenge, but mixed into the wreckage is a cautionary tale about bullying and religious abuse. Carrie may wield the fiery hand of justice in the film’s final act, but only after a lifetime of victimization at the hands of her classmates and mother. Maybe thinking about Carrie and the real life outcasts that share her...

“And don’t anyone say ‘April Fool’s’ again or I’ll rip them apart!”

What is it about the first day of April that makes us want to torture our friends? History tells us that just about every culture honors a day where tricks are not only celebrated, they’re the law of the land. In the west, we recognize April Fool’s Day – an auspicious 24-hour stretch in which the rules of logic and truth no longer apply. From gimmicky corporate announcements to fake positive pregnancy tests, the first day in April is a virtual smorgasbord of deceit designed to get a laugh or incredulous grin out of unsuspecting dupes. But sometimes the tricks go too far. While commitment to the bit may be admirable, not everyone enjoys having the rug pulled out from under them and many a friendship has died on the April Fools altar. The...

“So hungry was I to realize my own powers, I hardly even chewed.”

We’ve all grown up hearing the classic fairytale. A brother and sister are turned out of their home and sent by their wicked stepmother to survive in the deep, dark woods. The ingenious Hansel leaves a trail of pebbles and breadcrumbs to find the way home, but they eventually fall into the clutches of a sinister witch. While Gretel does get credit for pushing the old witch into the oven before she can roast and eat Hansel, most of the story’s heroism still falls on male shoulders. But what if Gretel was actually the one responsible for the sibling’s survival? What if it’s her courage and fortitude that saves the day while her brother is little more than a burden? Oz Perkins’s nightmarish film turns the classic fairy tale on its head...

“You got involved with a woman who fell in love with you for your sanity and hoped it would rub off.”

What would the horror version of Kramer vs. Kramer look like? What about a murderous version of Marriage Story? While horror fans might enjoy throwing in gory dismemberment or supernatural chaos to these extremely human stories, would we be able to stomach the devastating mix of physical and emotional pain? Divorce is already hard enough! But that’s just what David Cronenberg gives us with The Brood. This 1979 film is a shocking and powerful story about the death of a marriage and the extensive collateral damage that lies in its wake.

Nola (Samantha Eggar) is a young mother taking time for herself. In order to process childhood trauma, she’s enrolled in extensive treatment at the Somafree Institure, a therapeutic retreat run by the illustrious Dr. Raglan (Oliver Reed). His patented modality,...

“I’m an English teacher, not fucking Tomb Raider.”

What does it mean to be a strong woman? Is it visible muscles à la Linda Hamilton in Terminator 2: Judgment Day? Is it impressive feats of strength like climbing a mountain or braving white water? Is it putting yourself in harm’s way to save a friend? As it turns out, the answer is all–and none–of the above. There is no one way to be a “strong woman.” Sometimes it’s as simple as just showing up for the hard moments. Writer/director Neil Marshall explores the concept of female strength in his 2005 The Descent, a harrowing story of friendship and betrayal, strength and survival. In their latest episode, the Lady Killers kick off a series on Hidden Horrors by descending into the complicated themes of this terrifying film and facing off against the monsters lurking within the human heart.

“Are we going to prom or to hell?”

What’s the most important decision a teenager can make? Is it what to do with 5 million dollars two days before aliens blow up the planet? Is it what kind of corn nuts make the best pre-fraternity party snack? According to Michael Lehmann’s dark cult comedy Heathers, the most important decision a teenager can make is whether or not to die by suicide. But what if it’s not a decision at all? What if a hot killer couple blasts through the halls of their suburban high school dressing up their murders as altruistic revenge? The Lady Killers conclude Bad Romance month by putting on their red power scrunchies and fucking each other gently with chainsaws on a very special episode covering one of the hottest killer couples of all time.

Veronica Sawyer (Winona Ryder) may be so “very,” but she...

“Words create lies. Pain can be trusted.”

Few things in this world are more frightening than dating. In addition to the fear of getting stood up or rejected, women have the added bonus of worrying that the person they’ve matched with might turn out to be a serial killer. It’s just smart to text your location and the photo of your blind date to a friend while asking for advice on which earrings best complement your impossibly sexy First Date Dress. Women talk about our hopes for a romantic adventure in the same breadth that we relay justifiable fears that we might end the evening as a collection of dismembered body parts in a trash bag at the bottom of a ravine.

Shigeharu Aoyama (Ryo Ishibashi) learns about this terrifying dichotomy the hard way in Takashi Miike’s insightful masterpiece Audition. Tired of the single life but terrified of women,...

“Please. I’ll do anything you want. Anything.”

Who among us hasn’t fallen for a bad boy once or twice? Maybe he’s the cute senior trying to cheat off of us in Algebra. Maybe he jumped our car when the battery died outside the mall. Or maybe he’s our fiancé’s hot brother knocking on our door in the middle of a rainstorm just desperate for a towel. Whatever the case, we all know what it’s like to get pulled into an illicit, but ill-advised affair. Sure it seems exciting at first, but it rapidly spirals into the further regions of hell.

Julia Cotton (Clare Higgins) finds herself in a similar situation in Clive Barker’s decadent masterpiece Hellraiser. When she hooks up with her future brother-in-law Frank (Sean Chapman) just days before the wedding, she allows herself to taste the sinful pleasures not available in...

Presented by Lisa Frankenstein, 1989 Week is dialing the clock back to the crossroads year for the genre with a full week of features that dig six feet under into the year. Today, The Lady Killers revisit Diablo Cody’s 2009 slice of horror, Jennifer’s Body.

“Hell is a teenage girl.”

By now it’s safe to say that the world was not ready for Jennifer’s Body when it first released in 2009. Call it bad marketing, Juno fatigue, or audience aversion to a female-led horror comedy, this progressive film not only bombed at the box office, it sent director Karyn Kusama to what she calls “movie jail” for the better part of the next decade. But nearly fifteen years later, this beloved film about female empowerment seems to have finally found its audience. Not only is it a prime example of Boys In Danger horror, but Kusama and writer Diablo Cody take...

“If you ever come near my family again, I’ll kill you. Do you understand?”

We’ve all heard the phrase “hell hath no fury like a woman scorned.” We pull it out when we see a woman reacting to the hurtful choices of a romantic partner, standing up for herself after rejection, or really expressing any kind of powerful emotions at all. It’s a bon mot so pervasive that it makes you wonder if there are any men in hell. Maybe it’s all just hysterical women pulling hair and trying to steal each other’s boyfriends. Regardless of this reductive phrase and dehumanizing stereotype, few films in the history of cinema explore the concept of the scorned woman like Adrian Lyne’s Fatal Attraction. This cautionary tale about infidelity and revenge pits two women against each other for the love of one man with a surprising female killer emerging from the wreckage.

“We’re in the mood for a little vivisection.”

We’ve all heard the saying “less is more.” Marie Kondo championed this minimalist sentiment when convincing us to rid our homes of unwanted items and Coco Chanel lived by the rule of taking one accessory off before leaving the house. We’re not sure Peter Jackson has ever heard this saying as his films tend to be extravaganzas filled with lavish plotting, eccentric characters, and over-the-top effects. And we’re not mad about it. Years before he wowed the world with expansive adaptations of J.R.R. Tolkien’s The Lord of the Rings and a mammoth remake of the 1933 classic King Kong, Jackson honed his delightful excesses in the horror genre culminating in the 1996 splatstick comedy The Frighteners.

Michael J. Fox stars as Frank Bannister, a widower blessed – or cursed – with the ability to see the dead. When he runs afoul...

“Love is stronger than death… even than life.”

Twenty-five years before Bram Stoker revolutionized the world of horror with his iconic novel Dracula, another sensual vampire was drifting into the moonlit bedchambers of society’s upper crust. First appearing in a 1871 edition of the literary magazine The Dark Blue, Carmilla, a.k.a. Mircalla, Countess Karnstein, preys upon unsuspecting young women in the crumbling castles of the Austrian countryside. Despite never gaining the ubiquity of Stoker’s dark antagonist, Sheridan Le Fanu’s gothic novella Carmilla is one of the world’s first examples of vampiric literature and helped to establish the archetype of the lesbian vampire. Belgian director Harry Kümel combines this foundational text with the true story of Hungarian serial killer Elizabeth Báthory to create another sinister seductress in his 1971 erotic horror film Daughters of Darkness.

Newlyweds Stefan (John Karlen) and Valerie (Danielle Ouimet) are still enjoying the...

“Death of a loved one can lead people to do the strangest things.”

Of all the female killers in the wide world of cinema, few strike such an abhorrent cord as a mother who kills her children. Assumed to be natural caregivers and expected to automatically love their offspring, we place a special taboo on the women who not only fail to protect their kids, but actively cause their deaths. But mothers are not only human beings with complex inner lives, they are flawed, fallible, and just as likely to be cruel as the rest of society. Few films explore the mindset of a murderous mother like Alejandro Amenábar’s The Others. Within the trappings of a classic ghost story, this gorgeous film views its tragic heroine with a compassionate lens, extending an olive branch to a woman who has done the unthinkable. As the fog closes in and intruders threaten her carefully constructed life,...

“You’ll have to hide better than that.”

We’ve all got that one bad ex in our past. At first they seemed like a dream come true – an angel sent straight from heaven to be our perfect match. They were attractive, spontaneous, generous, kind … We spent most of our time indulging in months-long bone-a-thons and we just figured the future would take care of itself! And then we met the inlaws. Fortunately, no matter how stressful these “meet the parents” occasions may have been, they probably don’t hold a candle to what Grace (Samara Weaving) endures in Ready or Not. This gorgeous bride has just married the man of her dreams at a lavish estate wearing god’s gift to wedding dresses only to find out that she’s unwittingly entered into a bizarre gaming ritual that might end up costing her life.

This 2019 film from Radio Silence...

“There’s someone in the house … absolutely trying to kill me, ya’know?”

The Christmas season is upon us! The warm glow of twinkling lights fills the air. Green pine trees decorate our living rooms and every solid surface seems to be decked out with ribbons and garland of deepest crimson. What better time to celebrate Dario Argento’s 1975 holiday giallo film Deep Red. Musician Marcus Daly (David Hemmings) is on his way home when he witnesses a brutal murder in the window of a neighboring apartment. To keep from becoming the next victim, he and quirky reporter Gianna Brezzi (Daria Nicolodi) must team up to solve not only the crime, but the mystery of the missing painting. This rocky partnership will lead them to a deep red lecture hall, a steamy bathroom, and an abandoned house in the canary islands all to track down a mysterious – and musical – killer.

“Women always have to put up a fucking fight.”

While the rest of North America settles in for the cold winter nights of December, The Lady Killers are heating it up with a trip out to the dry and dusty French desert. They’ll relax and unwind by snacking on seductive lollipops and dancing by the pool on a fancy sex holiday with their hot French boyfriend. Unfortunately, it looks like a couple of unwanted visitors will be crashing the party. Thank goodness they’ve got Jen (Matilda Anna Ingrid Lutz) to guide them through.

Few corners of the Horror genre deal with the subject of female rage like rape-revenge. These complicated and oft-controversial films have a long history of exploitation and salacious violence that turn the stomachs of many viewers. But there’s no doubt that they also provide a liberating sense of empowerment and an aspirational vision of...

Of life’s many mysteries, few are as powerful or as complicated as religion and death. Are we alone at the moment we cease to live or will there be someone waiting for us on the other side? Who pulls the strings that guide our lives and what will they require from us during our time among the living? There are as many different answers to these questions as stars in the sky and how we answer them often reveals more about ourselves than any higher power.

With such mysterious forces at play, it’s no wonder religion and death occupy so much of the genre landscape. Catholic horror movies abound with many tackling demonic forces attempting to invade innocent bodies. But few films present such an intimate portrait of penance and pain as Rose Glass’ Saint Maud. This bleak film follows Maud (Morfydd Clark) a young in-home nurse as...

“Now is the time. This is the hour. Ours is the magic. Ours is the power.”

As the nights grow longer and the snow begins to fall, we begin to insulate ourselves from the outside world and spend more time with our nearest and dearest. While comforting for others, this time of year can also bring with it the horrors of complicated family dynamics. For every turkey-loving Thanksgiving stan who thrives on big family reunions, there’s another lost and lonely soul looking for a friendly face. Many of us find comfort in spending time with a chosen family of trusted friends, fellow misfits we know will accept us no matter what. But even these bonds can bend. Sometimes they break. While many horror films have tackled complicated family dynamics, the witches of Andrew Fleming’s teen witch classic The Craft stand out from the crowd. This iconic film serves...

“You’re just in time to have your head cut off.”

As the autumn days wear on, horror fans around the world mourn the passing of spooky season and turn their lonely eyes to November. What better film to watch while finishing off the Halloween candy than Tim Burton’s Sleepy Hollow?

Adapted from Washington Irving’s 1820 short story “The Legend of Sleepy Hollow,” this icy film begins in an autumnal cornfield and ends on a snowy street just in time for a new century. Burton’s version of the story also features a surprising number of witches, a baffling appearance by Christopher Walken, and one of the most stunning villain reveal dresses in cinematic history.

Don’t be a goose and join The Lady Killers: A Feminine Rage Podcast as they dig into this transitional grayscale classic with an episode on the story’s vengeful killer, Lady Van Tassel...

“Kill her, Mommy! Kill her!”

“My, my what big eyes you have.”

We like to think we know how to throw down on Halloween, but no one parties like the counselors of Camp Crystal Lake, New Jersey or the residents of Warren Valley. While New Jersey’s summer camp eschews the traditional arts and crafts classes for archery and sculpting with Toxic Boy Mom Pamela Voorhees, Ohio’s picturesque little hamlet hosts a raging street soirée, a plethora of pumpkins, a haunted quarry, and, sure, a gang of princesses who just so happen to be werewolves. Lots to carve here, but who has the knives?

Enter The Lady Killers: A Feminine Rage Podcast.

Dedicated to Female-Identifying Killers in Horror, the latest series from BloodyFM finds co-hosts Jenn Adams, Sammie Kuykendall, Mae Shults, and Rocco T. Thompson discussing a female-identifying killer in the horror genre—and sometimes the wider world of...