ANALYSIS - ARCHIVE Featured Oct 22, 2023 [Mother of Fears] Mothering in Silence in A Quiet Place (2018) Oct 22, 2023 Oct 22, 2023 Oct 15, 2023 [Editorial] “I control my life, not you!”: Living with Generalised Anxiety Disorder and the catharsis of the Final Destination franchise Oct 15, 2023 Oct 15, 2023 Oct 13, 2023 [Editorial] What to Watch at This Year's Cine-Excess International Film Festival 2023 Oct 13, 2023 Oct 13, 2023 Oct 12, 2023 [Editorial] Cherish Your Life: Comfort in the SAW Franchise Throughout and Beyond the COVID-19 Pandemic Oct 12, 2023 Oct 12, 2023 Oct 10, 2023 [Editorial] The Art of Horror in Metal Oct 10, 2023 Oct 10, 2023 Sep 24, 2023 [Mother of Fears] Mother Vs. Monster in Silent Hill (2006) Sep 24, 2023 Sep 24, 2023 Sep 24, 2023 [Editorial] If Looks Could Kill: Tom Savini’s Practical Effects in Maniac (1980) Sep 24, 2023 Sep 24, 2023 Aug 29, 2023 [Editorial] Virginity is a Killer as Cherry Falls (2000) Celebrates 23rd Anniversary Aug 29, 2023 Aug 29, 2023 Aug 29, 2023 [Editorial] Deadly Duets: The Power of Dance in Horror Cinema Aug 29, 2023 Aug 29, 2023 Aug 27, 2023 [Mother of Fears] I Don’t Wanna Be Buried in a Pet Sematary (1989) and (2019) Aug 27, 2023 Aug 27, 2023 Aug 22, 2023 [Editorial] Examining Addiction in Midnight Mass (2021) Aug 22, 2023 Aug 22, 2023 Aug 20, 2023 [Editorial] Eat Shit and Die: Watching The Human Centipede (2009) in Post-Roe America Aug 20, 2023 Aug 20, 2023 Jul 25, 2023 [Editorial] The Shocking Brilliance of Frankenhooker (1990) Jul 25, 2023 Jul 25, 2023 Jul 24, 2023 [Editorial] Metal Heart: Body Dysmorphia As A Battle Ground In Tetsuo: The Iron Man (1989) Jul 24, 2023 Jul 24, 2023 Jul 23, 2023 [Mother of Fears] How I Love to Love Nadine in The Stand (2020) Jul 23, 2023 Jul 23, 2023 Jul 4, 2023 [Editorial] Blood, Guts and Mommy Issues in The Witch (2015) Jul 4, 2023 Jul 4, 2023 Jun 30, 2023 [Editorial] They’re Coming to Re-Invent You, Barbara! Night of the Living Dead 1968 vs Night of the Living Dead 1990 Jun 30, 2023 Jun 30, 2023 Jun 27, 2023 [Editorial] Dead Ringers (2023) and Bodily Autonomy Jun 27, 2023 Jun 27, 2023 Jun 25, 2023 [Mother of Fears] A Certain Hunger in Onibaba (1964) Jun 25, 2023 Jun 25, 2023 Jun 19, 2023 [Editorial] The Texas Chainsaw Massacre 1974 vs 2003: The Birth and Evolution of the Final Girl Trope Jun 19, 2023 Jun 19, 2023 Jun 9, 2023 [Editorial] 90s Horror Attitude, Music and Friendship Jun 9, 2023 Jun 9, 2023 Jun 5, 2023 [Editorial] The Terrible Place: Visiting and Revisiting Hollywood in Horror Jun 5, 2023 Jun 5, 2023 May 27, 2023 [Mother of Fears] Be Very Afraid of Motherhood in The Fly (1986) May 27, 2023 May 27, 2023 May 24, 2023 [Editorial] The Disrupt Symbology of Lamb (2021) May 24, 2023 May 24, 2023 May 23, 2023 [Editorial] Eden Lake (2008): How a Film’s Potential is Destroyed by Bias May 23, 2023 May 23, 2023 May 11, 2023 [Editorial] Dead By Dawn: A Retrospect on the Original Evil Dead Trilogy May 11, 2023 May 11, 2023 May 10, 2023 [Editorial] The Female Lens in Cat People (1942) May 10, 2023 May 10, 2023 May 5, 2023 [Editorial] Poetry, Literature, Fairy Tales and the Gothic in An American Werewolf in London (1981) May 5, 2023 May 5, 2023 Apr 30, 2023 [Editorial] Reclaiming Femininity and Coming of Age in Raw (2016) Apr 30, 2023 Apr 30, 2023 Apr 29, 2023 [Editorial] The Losers Club: The Best Friends I Never Had Apr 29, 2023 Apr 29, 2023