A Quiet Place Day One 2024 - Movies (Oct 2nd)
Sisterhood Inc. 2025 - Movies (Feb 24th)
Bottom Feeders 2024 - Movies (Feb 24th)
Veselka The Rainbow on the Corner at the Center of the World 2024 - Movies (Feb 23rd)
Into the Deep 2025 - Movies (Feb 23rd)
Monster Mash 2024 - Movies (Feb 23rd)
Gladiator II 2024 - Movies (Feb 23rd)
Kraven the Hunter 2024 - Movies (Feb 23rd)
Azrael 2024 - Movies (Feb 22nd)
Swimming Home 2024 - Movies (Feb 22nd)
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Ghost Rite Here Rite Now 2024 - Movies (Feb 22nd)
The Bayou 2025 - Movies (Feb 21st)
Old Guy 2024 - Movies (Feb 21st)
Millers in Marriage 2024 - Movies (Feb 21st)
Inheritance 2025 - Movies (Feb 21st)
Daytime Revolution 2024 - Movies (Feb 21st)
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The Day the Earth Blew Up A Looney Tunes Movie 2024 - Movies (Feb 19th)
The Forgotten Coast 2024 - Movies (Feb 19th)
Controlling My Husband 2024 - Movies (Feb 19th)
Family Feud Canada - (Feb 24th)
Panorama - (Feb 24th)
Common Side Effects - (Feb 24th)
A Cruel Love- The Ruth Ellis Story - (Feb 24th)
The Chase Australia - (Feb 24th)
Married at First Sight - (Feb 24th)
Australian Survivor - (Feb 24th)
Lidias Kitchen - (Feb 24th)
Snapped - (Feb 24th)
Tribunal Justice - (Feb 24th)
When Calls the Heart - (Feb 24th)
Grosse Pointe Garden Society - (Feb 24th)
Fatal Family Feuds - (Feb 24th)
Scars of Beauty - (Feb 24th)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Half body horror and half lesbian romance, Lucky McKee's Sick Girl is bursting at the seems with underappreciated cinematic talent. While much of McKee's filmography is dedicated to the lowly weird girl, his best-known work being May (2002), I think Sick Girl is where his cinematic skills come together best. Let's start with the talent, because I have a lot to say that's contrary to popular opinion. Erin Brown, while constantly being brought into the conversation to say she cannot act, is nothing if not committed to her role. If you've ventured into her filmography, you'll see that she isn't afraid to get weird (have y'all seen Dickshark), and so she jumps into bug posession and lesbianism with such conviction. She also has features that are actors on their own. Her piercing blue eyes shift from endearing to freaky depending on what the scene requires, and her long hair is both mesmerizingly elegant, and reminiscent of the girl from the ring. When combined, they work the horror comedy to their advantage. Then you pair her with Angela Bettis, who is one of the most under-appreciated actors I've ever seen on screen (her horror scream at the end of this movie is one of the best), and it only amplifies Brown's performance. Bettis transforms into the awkward, socially inept Ida, and in her deliberate choice to play her character this way, makes Misty's more awkward line deliveries look like they're intentional too. Together, the two play off each other perfectly and, outside of their obvious chemistry, that shines even beyond their characters' clumsy natures, enhance each other's performances. (Also, sorry, but sometimes bad acting just adds to the autism coding,,, Oh, you don't speak how people expect you to? Girl, same. This, however, is a bias I am not including in the argument, no matter how comforting it is to me, personally.) Then McKee comes in with his directoral flare. Combining his distinctly 2000s style with the influence of 40s powerhouses Emeric Pressburger and Alfred Hitchcock, he creates a unique visual experience that should not work as well as it does. It is this deep understanding of what makes a movie good that truly earns him his place as a Master of Horror. I will also add that going into a lesbian film directed by a man is almost always scarier than any horror movie will ever be, but McKee handles Ida and Misty with so much respect. Their romance is soft and silly, and while there is a particularly steamy scene, it is within reasonable bounds, and feels so far from exploitative. This is the reasonable progression of a drunk, lustful, first night together, not the director's sick fantasies. And any other moments they have together, we don't see. They're mentioned off hand, or we fade to black, which is again in the spirit of the 40s films McKee is trying to emulate. And this doesn't even include McKee's script, which is simply FUN!!! The humor is certainly for a specific type of person, but that type of person is me. It's very unserious, which makes the cheesier portions fit right in. In fact, McKee wrote in a lot of Hlubik's scenes while the two were drunk, which totally checks out when you watch them back with this knowledge. Besides that, though, McKee creates a very thoughtful metaphor about the dangers of moving in with someone too quickly, suggesting that, while it isn't inherently bad, it WILL have its road bumps, but with patience and kindness, these things can be worked through, and two people can live together in harmony. He is also very clever in how he subverts expectations. Horror movies like this typically end rather devastating (see Cronenberg's The Fly), and lesbians in horror tend to get the short end of the stick on top of this (bury your gays), but McKee gives Ida and Misty a happy, comfortable ending, following in the footsteps of other horror anthologies like Tales From The Crypt, which usually concluded its stories in the last way someone would expect. As a final point, I love the practical effects. The bug design and transformation are so simple but so effective. And Misty's gooey ear!!! Beautifully yucky!!!
Confined to a mental hospital, young Kirsty Cotton insists her supposedly dead father is stuck in hell, controlled by sadomasochistic demons after being betrayed by his evil, occult-obsessed wife, Julia. Few believe Kirsty, except the thrill-seeking Dr. Channard, who is intrigued by the young woman's lurid stories. So when Kirsty and fellow patient Tiffany head to hell for a rescue, Channard and Julia are close behind.
Americans Amy, Stacy, Jeff and Eric look for fun during a sunny holiday in Mexico, but they get much more than that after visiting an archaeological dig in the jungle.
Industrialist François Delambre is called late at night by his sister-in-law, Helene Delambre, who tells him that she has just killed her husband, André. Reluctant at first, she eventually explains to the police that André invented a matter transportation apparatus and, while experimenting on himself, a fly entered the chamber during the matter transference.
The residents of San Francisco are becoming drone-like shadows of their former selves, and as the phenomenon spreads, two Department of Health workers uncover the horrifying truth.
July 7, 1977. Tormented by tinnitus and fiending for fame, folk musician Paul Cody has isolated himself at a remote cabin in the sweltering summer woods. Plagued by indescribable sights and sounds, he’s about to uncover what creeps and crawls within the house's walls.
As a result of nuclear testing, gigantic, ferocious mutant ants appear in the American desert southwest, and a father-daughter team of entomologists join forces with the state police officer who first discovers their existence, an FBI agent and, eventually, the US Army to eradicate the menace, before it spreads across the continent — and the world.
When wildlife photographer Tara returns home from a photo trip to the California mountains, she's beset by violent agoraphobia. Her boyfriend Matthew tries to get her into treatment as she escalates episodes of self-harm, convincing herself that her house has become home to a dark insect brood.
As the president of a trashy TV channel, Max Renn is desperate for new programming to attract viewers. When he happens upon "Videodrome," a TV show dedicated to gratuitous torture and punishment, Max sees a potential hit and broadcasts the show on his channel. However, after his girlfriend auditions for the show and never returns, Max investigates the truth behind Videodrome and discovers that the graphic violence may not be as fake as he thought.
Hedonist Frank Cotton finds a mysterious puzzle box that summons the Cenobites, who open the doors to a dominion where pain and pleasure are indivisible.
A small town is taken over by an alien plague, turning residents into zombies and all forms of mutant monsters.
Martin Brundle, born of the human/fly, is adopted by his father's place of employment (Bartok Inc.) while the employees simply wait for his mutant chromosomes to come out of their dormant state.