u/TheArtichokeProject

I remember when Hostel came out, specifically the original Roth duology, that critics claimed it was a return to giallo cinema.

The problem is, it wasn't - and the "return" implies that Giallo had left our screens, despite the fact it's likely one of the top three most influential styles and genres of all time. Hostel is not a Giallo - it barely ticks any of the boxes.

Exploitation flicks and Giallo seemed to keep getting crossover references, especially in the era of the gorno.

This book dives into the details of this, and explores how influential Giallo cinema was: https://linktr.ee/sadomassessayist

It's worth checking out.

We all love TCM - the original, the franchise, or just some part of it - but when discussions occur about who is on the mount Rushmore if horror icons, the first three slots are filled quickly and usually unanimously; Freddy, Jason and Michael.

However, the fourth spot is far harder to nail down - Leatherface? Chucky? Pinhead? Billy? Art?

TCM has the longevity and consistency of franchise entries as Halloween, but is still never a concrete selection (upon general consensus).

It's such an interesting topic which is discussed more in this book: https://linktr.ee/sadomassessayist

It's a must for any horror-fan and cinephile. Please check it out 🙏

https://linktr.ee/sadomassessayist

Horror movies are so "in" right now. And, for the most part, they always have been. Their reputation, however, is another story. From cheap jump scares, pervasive and gratuitous violence, questionable final girls, to the psychopathic antagonists we champion to succeed, horror movies can get a bit of a bad wrap. However, through cultural history, sociological and economic trends, horror movies can provide a fascinating (albeit bloody) insight into psychology and philosophy, as it learns its lessons to ever evolve into the greatest form it can be.

How is Demi Moore's Oscar-nominated hit, The Substance, actually a continuation of the French Extremity Wave from the start of the Millennium? Why does Japanese horror use its own country as an "additional character"? Why does Terrifier work as a franchise, where others failed before it? This collection of essays answers these questions, and explores a bunch more which no-one asked for, in a comedic, insightful, but mostly polemic, way.

Pop culture references, a genuine understanding of the genre across the globe and a healthy dose of satire... I hope it has everything you, or someone you know, would enjoy 🙏