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Hereditary

By: Nick van Dinther It’s so difficult to pull off a horror film that’s truly frightening.  Many movies rely on jump scares or violent deaths, but the results rarely stick with you after the fact.  It’s a genre that’s incredibly divisive between both fans and critics, and fails more often than it succeeds for both.  A filmmaker needs to bring something genuinely special and memorable to the table to appeal to all.  Writer/director Ari Aster…

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First Reformed

In First Reformed, writer/director Paul Schrader tells a story about characters living in excruciating personal turmoil.  He then gradually develops his movie to be more visceral, so the audience can experience similar pain.  You would think keeping movie goers in a state of compelling discomfort would be a tricky balancing act for Schrader, but he succeeds with ease;  almost as if this area of emotional discomfort is a particular wheelhouse for the Taxi Driver screenwriter.

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It Comes at Night

There is a tradition in American horror cinema of making a short film with a lot of effects and minimal plot to be eventually used as a calling card.  It seems like this practice has found its way into the feature length semi-mainstream.  At least, that’s the only explanation for the existence of Trey Edward Shults’ It Comes at Night, a film which shows the director’s abilities as a horror filmmaker – including his great gift for…