November and Beyond for Horror Fans

We’re well into November now with Thanksgiving right around the corner. While it’s always horror season for true fans, October is the time for slashers for most casual fans. Never fear though… there’s some great stuff coming in the near (and distant future).

Suspiria 2018

After the Halloween franchise finally made a return to the big screen last month (check out Chewie’s review of Halloween (2018) here) after a long layoff after the reboot of Halloween this month, many have started to speculate which will be the next horror film to come out of the grave. Here are some odds on possible movies that could be released in the next three years.

IT Chapter TwoIn addition to speculation, check out this awesome list of flick that have either just come out or are confirmed and on their way:

  • Suspiria – 11.2.2018
  • Overlord – 11.9.2018
  • The Clovehitch Killer – 11.16.2018
  • Anna and the Apocalypse – 12.7.2018
  • The House That Jack Built – 12.28.2019
  • Eli – 1.4.2019
  • The Turning – 2.22.2019
  • Pet Sematary – 4.5.2019
  • Godzilla: King of Monsters – 5.31.2019
  • IT Chapter 2 – 9.16.2019

Clearly, there’s a lot to be excited about for horror fans out there.

What’s the flick that’s got you excited? What was the best horror film of 2018? Are you looking forward to some of these reboots?

Sound off in the comments below!

Dakota Johnson Discusses ‘Suspiria’s Biggest Twist

Suspiria - Dakota Johnson

After lots of hype, director Luca Guadagnino’s highly anticipated remake of Dario Argento’s 1977 classic Suspiria is now in theaters. Unfortunately, that doesn’t necessarily mean everyone reading this can see it, as the numbers of theaters it’s playing in is sadly limited. Still, those who’ve had the chance to check out the new Suspiria were […]

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‘Overlord’ Finishes Third at Box Office; ‘Venom’ and ‘Halloween’ Continue to Add to Totals

Bad Robot’s long-delayed and rumored about World War Two zombie tale Overlord finished third at the weekend box office while the break-out hits of October, Venom and Halloween (2018), continued to pad their already impressive totals.

Overlord, once rumored to be the fourth installment in the Cloverfield franchise, finished third with a modest $10.1 million dollar debut.  The hard-R tale of mad zombie science run amok may have been too much for the average movie-goer (who gave the film a mediocre B Cinemascore rating), but Overlord did score high with critics (the film currently has an aggregate rating of 81% fresh on Rotten Tomatoes).  The film will certainly earn back all of its production costs ($38 million) once international sales are included, but don’t expect Overlord to perform much better over the coming weeks with continued competition from tent-pole pictures from all of the major studios.

Carrying over their success from October, Venom and Halloween (2018) continued to earn money in November, with an 8th place finish for Venom ($4.85 million) and a ninth place finish for Halloween ($3.84 million).   Venom’s domestic total currently sits at over $206 million and the international receipts bring the film well over $670 million dollars.  Halloween is beginning to slow down (especially with the direct competition from Overlord this weekend), yet the film crossed the $150 million mark and is very close to $250 world-wide at this point.

In less positive news, the sequel to David Fincher’s The Girl With The Dragon Tattoo, The Girl in the Spider’s Web, got tangled up and lost in the plethora of new films and consistent October earners and only made a little over $8 million at the box office.  Director Fede Alvarez’s first non-horror entry did not fare well with critics, posting a 43% fresh rating on Rotten Tomatoes.  The timing of the release was also questionable with Overlord and Halloween targeting similar audiences, not giving the director of Don’t Breathe a chance to bring over fans of his horror material to the franchise. A quick exit from your local cinema all but assured based on the film’s anemic debut.

Speaking of quick exits, if you haven’t had the chance to see Luca Guadagnino’s Suspiria remake,  you better get out to the movie theater soon, as the film is only playing in 261 theaters, down 50 from last week.  The film has grossed a total of $2 million for Amazon Studios, which never quiet got around to giving the film a wide-release. This isn’t a surprise for horror fans, as even in the horror community, Argento’s films (or those based on his work) are an acquired taste.  Look for Suspiria to appear on Amazon Prime very soon.

Stay tuned to Horror News Network for all of your box office news.




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Who Goes There Podcast: Ep 188 – SUSPIRIA (2018)

With the state of horror being what it is in 2018 it feels like half of the movies that are released can be described as “divisive”, especially when it comes to remakes. Here we are again, about to discuss another film that will surely split the horror community right down that center. That’s right, fuckos! This week we’re discussing Luca Guadagnino’s newly released reimagining of Suspiria. (Review starts at 22:30) How does Thom Yorke’s score hold up to the Goblin original? Does it suffer from not having the bright, enchanting colors of the original? Does the extra 60 minute run time add anything at all to the film? Only one way to find out, huh? Well, technically there’s plenty of ways, but you get the idea.

In addition to what is sure to be highly intellectual, well thought out analysis of Suspiria, Rhett walks us through his recent rewatch of the Friday the 13th franchise, and Matt politely explains to him why his favorite in the series is the wrong choice. There can be only one.

Gobble, Gobble, Motherfucker! It’s the Who Goes There Podcast episode 188!

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The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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Vogue Writer Slams Horror: “Where Have All the Good Horror Movies Gone?”

Remember when horror was good?” asks Vogue writer Taylor Antrim, who proclaims 2018 void of any good horror movies in an article published this week, yet still works in mentions of Hereditary and A Quiet Place – the latter of which he calls a “thriller”. Sigh.

We didn’t even get a decent shark movie this year,” he bolsters like that’s some kind of quantifiable statistic over the past 100 years of cinema. (The funny thing is, the fact that we even did get a mega budget shark blockbuster with The Meg actually shows how huge horror is right now.)

The writer then slams Halloween, before he comically tells readers to watch Revenge, which, I hate to break it to him, came out this year. Remember when horror was good? Like, you mean right now? In this very moment we’re living inside of?

Then, Suspiria is removed from the equation. “Suspiria is not forgettable. Nor is it, I hasten to say, much of a horror film, despite being a remake of one.” He suggests that a horror movie isn’t a horror movie unless it has “an element of fun, of dark delight,” and excludes Suspiria because it wasn’t fun nor did he understand the finale. Must be a “thriller,” eh?

Typical for pieces of this sort, the article has no clear point and builds up to nothing; mostly, it’s supported by the writer’s viewing of WinchesterThe Nun and Slender Man, three not-so-great films that offer only a fraction of horror that was put on display this year. Of course, as most horror fans are aware, the good has far outweighed the bad in 2018.

(And even the baddest, it’s worth pointing out, have proven quite successful.)

But I digress. This feels like yet another mainstream hit piece, one that perhaps it’s best to give no attention to at all. But it’s hard not to. After all, this is exactly the kind of bullshit we horror fans constantly have to deal with. You see, when horror is having a down year, they’ll write, “Horror is dead.” When it’s hot, like it has been for the past few years, they quantify it and remove films to fit their narrative. We’re low class to them. There’s no way a horror film could be so good that it deserves awards… right?

You just watch… when Toni Collette gets nominated for an Academy Award for her performance in Hereditary, and Ari Aster gets nominated for “Best Director” and “Best Original Screenplay”, the mainstream media will start the narrative that Hereditary is not a horror movie. Buckle your seatbelts, cause it’s going to happen. Hell, it already has.

Digressing yet again, I don’t understand how one of the biggest magazines on the planet can allow someone to write a horror hit piece having just seen a small handful of horror films?

Outside of the aforementioned Hereditary, A Quiet Place (a monster movie that’s without question a *horror* movie), Revenge and Suspiria (that’s a lot of great horror right there, no?), there have been dozens of phenomenal genre films released in 2018. So much so that I’m having a difficult time narrowing down the best of the year. While you may debate me on the merits of The Predator or this weekend’s Overlord (both extremely fun genre films), I offer you the following counter: Annihilation, Mandy, The Ritual, The Night Comes For Us, One Cut of the Dead, Thoroughbreds, Before I Wake, Ghost Stories, Blue My Mind, What Keeps You Alive, Tumbbad, Lowlife, Possum, Let the Corpses Tan, Terrified, and The Witch In the Window.

I’m sure there’s even more, but let’s not pretend we’re not in the middle of a major horror renaissance. We are. We absolutely are. And true fans of the genre see that clear as day.

Don’t let anyone tell you otherwise.

[Review] ‘Bloody Ballet’ Is a Creatively Misguided Mess

From Suspiria to Black Swan, it seems that filmmakers have always been fascinated with the darker side of ballet. It makes sense, considering all the hardcore training and painful conditioning that goes on behind a facade of traditionally feminine beauty and dreamlike grace, but this age-old dichotomy has provided us with several great horror stories in the past. With that in mind, director and co-writer Brett Mullen aims to use this art-form as a jumping-off point for his own Giallo-inspired thriller, Bloody Ballet.

Bloody Ballet stars Kendra Carelli as Adriana Mena, an up-and-coming dancer who’s just landed the coveted lead role in a new rendition of The Nutcracker. However, Adriana’s inner demons begin to spoil the excitement as she’s plagued by terrible visions, all the while her friends and rivals are being stalked and murdered by a mysterious masked figure. Madness, jealousy and the supernatural intertwine as these ballerinas face their most dangerous performance yet.

At first glance, the plot sounds like a straightforward homage to the work of masters like Dario Argento, but as the film goes on things start to get shaky, as the creative cinematography and kickass (albeit misused) soundtrack can’t quite make up for a frustratingly obtuse narrative. Mullen seems to have all the ingredients ready for an entertaining psychological thriller, but the shoddy execution makes the film feel like less than the sum of its parts.

Carelli delivers a compelling performance as a tortured but talented dancer, but it’s too bad that the script doesn’t do her character justice. The story rushes through several conflicting personality traits and uses them as plot devices rather than allowing the movie to work as a character study. This disregard for the more human side of things is almost justified by the quality of the kills and gore effects, but it ultimately makes the film ring hollow.

It’s possible that the filmmakers thought so as well, as they attempted to spice things up with dreamlike storytelling, erratic editing and a slightly obnoxious (though consistently entertaining) soundtrack. Individually, all these things seem like great ideas, injecting energy and creativity into an otherwise dull experience, but the overuse of these elements just ends up confusing the viewer.

While Bloody Ballet does boast some legitimately thrilling sequences, there are also quite a few extraneous plot threads that should have been cut in order to streamline the experience. At times, it feels like there are several smaller films edited in-between scenes here, and they don’t all add up by the end. The final twist is also poorly executed, explained through a condescending voice-over that really hurts the entire film.

Bloody Ballet may not be an outright awful film, but it does feel rather underwhelming when you consider its cinematic inspirations. While there are several instances of genuine creativity in most areas of the production, none of these can quite make up for the film’s narrative shortcomings. At its best, the movie is a flawed yet entertaining dreamlike romp, but at its worst, everything feels like a derivative mess with pretentious overtones. At the end of the day, you have better options if you feel like watching some Giallo-inspired ballet horror.

Bloody Ballet will be available on VOD November 13th.

Dakota Johnson Talks the Ending of ‘Suspiria,’ Offering Insight into One Big Question You Might Have

Obviously, please avoid this article if you’ve yet to see Suspiria (2018).

Seriously. Turn away now.

To say the very least, Luca Guadagnino took his Suspiria down paths completely different from Dario Argento’s original classic, so much so that the remake is its own beast entirely. In the film’s insane final act, it’s revealed that Dakota Johnson‘s Susie Bannion isn’t the innocent Mennonite girl we thought she was, instead revealing herself to be none other than Mater Suspiriorum, the Mother of Sighs. According to Argento’s mythology, Mater Suspiriorum is the oldest and wisest of the Three Mothers… and yeah, we never saw that twist coming.

But the twist ending does leave one big question. Was Susie Bannion *always* Mater Suspiriorum, or did that transformation take place once she arrived at the Tanz Academy?

Speaking with Collider, Dakota Johnson offered some insights.

That’s a great question. My perspective on that is I did make an effort to sort of leave that open for interpretation,” Johnson told the site. “So Susie’s evolution is very internal. It’s deeply internal, but the thing that draws her to Berlin to Madame Blanc is also deeply internal. There are so many threads of possibilities. She comes from a Mennonite family, which Mennonites came from Germany. She has sort of like denounced the church, her mother and her father. She does not … she just fundamentally does not accept the life that she’s been given, which a long time ago if you did that, you were a witch. If you were at all independent, if you thought independently, if you felt independently from your father or the church, you were a witch.”

The actress continued, “So there’s all these kind of like hints that Susie’s different but she doesn’t know. She just feels this pull, this magnet, this thing, to dance and she has to go to Berlin. She has to be with Madame Blanc. It’s like just she was born in the wrong place. I think that’s how she makes sense of it, like, ‘I just don’t belong here.’ Then I believe once she understands what is happening there is a very very subtle moment where I think she realizes what she’s meant to do.”

I want the audience to figure out when that is.”


Reviewing this film has been quite the challenge.  Even as I was jotting down notes during the screening I attended, I found myself having to catch myself and scribble out my words. Why? because I am reviewing SUSPIRIA 2018. I am not reviewing SUSPIRIA 1977. I am not doing a comparison of the two either. I am not writing about the film as a fan, I am writing about it as a reviewer for you beauties and for those who are completely unfamiliar with the original. I approached this as if I had my memory erased by that little device from MEN IN BLACK, except without the aid of the actual tool itself. With that in mind, let’s talk about SUSPIRIA.

Susie Bannion (Dakota Johnson), a Mennonite and dancer from Ohio,  has arrived in Berlin to audition for the Markos Dance Company. The elite company is housed in a very stark and slightly run down looking mansion which not only houses the dance school but its dancers as well.  Susies audition goes well. Very well. So well in fact that she lands the lead in Madame Blanc’s (played by Tilda Swinton) dance masterpiece “Volk”.  This is where the discourse begins as she starts getting an inkling that something is amiss. The other dancers confirm her feelings when they reveal that the the elder women who run the dance company are witches who prey on younger female dancers in order to revitalize its founder, Helena Markos (also played by Tilda Swinton).

It will surprise absolutely no one that Tilda Swinton’s performances was out of this world. I was particularly impressed by her performance as the elderly Dr. Josef Klemperer. I was worried it would look a little “Professor Clump” like, but it was eerily authentic.  Kudos to the makeup and prosthetic’s team for that incredible transformation.

Dakota Johnson was better than I thought but I had very low expectations for her in this role. An unfair generalization on my part based on past projects and roles that suffered from bad writing. She has a very ethereal air about her that lends itself well to the demeanor of the character. I only wish she was more expressive.


Chloe Grace Moretz, one of the higher billed actresses in the film, has very little screen time. You know who else had a criminally small amount of screen time? The ABSOLUTELY stunning Alek Wek. I could NOT take my eyes off of her when she was on screen. Please cast her in more movies a.k.a….everything.

Anyone who knows me knows that my personal preference for films is to not run over an 1 1/2 hours, 2 hours max. So I was put off to learn that SUSPIRIA clocks in at a hefty 2 1/2 hours. I tried not to let that taint my experience. Who knows? MAYBE this is one of those rare occasions where this story really needs all 2 1/2 hours to give us it’s all. It wasn’t such an occasion. Especially given that the time wasn’t spent well.

One of my issues with the film was the lack of character development overall.  We know Susie is a Mennonite from Ohio, and with that information we can use deductive logic to fill in some blanks.  It would lead me to believe that she has had a very sheltered life and probably hasn’t left the United States before. It would also lead me to believe that she is silently dealing with a lot of repression. Repressed sexuality, repressed individuality and repressed expression to name a few. This lends itself to endless creative possibilities for character development, yet it was an opportunity not seized.  It was hard to get in their heads and to get lost in film and it’s players when they all had the warmth and depth of the Albert Speer style mansion they live in.

SUSPIRIA carries an “R” rating, which could mislead people to think it’s full of blood and gore. It is not. But when there is blood and gore, it is pretty damn explosive.  Our first exposure to a brutal death in the film was something really special. The visual was cool but it was the sound design that really put it over the top. The crunch of bones, the twisting of body parts. Just disgusting and awesome.  In fact, the sound design throughout the film was exceptional and I am so thankful for it and the impact it left with me.

Speaking on sound, let’s talk about the films score. I am someone who is profoundly affected by scoring and some of my favorite films are almost solely my favorites because of the score.  Thom Yorke of RADIOHEAD did the score for this film and in theory he seems like he would be a perfect fit.  Prior to seeing the film, I envisioned hearing these haunting and sparsely, yet perfectly placed sweeping melodies. I also pictured songs that play like hymns.  I pictured the score becoming my favorite character in the film.  That didn’t happen.  The score played more like an afterthought to me. Again, a missed opportunity to add greater dimension to the film.

I am a huge fan of the original SUSPIRIA, and giallo‘s in general.  To say I have been highly anticipating this film would be the understatement of the year. I am not alone in this sentiment. Horror fans and cinephiles alike hold this iconic Dario Argento film very near and dear to their hearts. That is why the news of this “remake” rattled everyone and left fans extremely weary of this modern update. I want to address this “remake” label that is being slapped on this film.  Actually, lets just address that term and how  lazily that very loaded word is used when identifying a film. Unless the film is a shot for shot carbon copy ( like the Vince Vaughn starring PSYCHO remake from 1998), a remake it is not.  To refer to a re-imagining or re-visioning of a film as a remake is not only a disservice to the film, but it is highly misleading. Let me set the record straight. This is NOT a remake. This is it’s own stand alone film and a divisive one at that.


“SUSPIRIA suspends belief and is a sight to be seen and heard”

3 Tombstones out of 5…


Final Girls Ep 103 ‘Resolution’ & ‘The Endless’

Welcome back for the 103rd episode of Final Girls Horrorcast! This week The Girls return to their standard format when they discuss the Justin Benson & Aaron Moorhead’s ‘Resolution’ & ‘The

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‘Halloween’ Tops $225M; ‘Suspiria’ Casts Spell On Limited Release

With October come and gone, there’s not much new going on other than Amazon Studios’ limited release of Suspiria, which shifted from only two theaters last weekend into 311 this time around. It’s unclear just how wide it will go next weekend (Amazon has not returned my inquiries), but last weekend it made an insane $89,003 per screen average in just two theaters in New York and Los Angeles. However, this weekend, the PER was $3,102 for a $964,000 weekend. While I am pretty good at breaking box office down, I have no clue how to look at these numbers. It doesn’t have quite the same hype as Hereditary and I’m not sure it’s going to roll into stronger weekends going forward. The budget is reportedly a massive $20M and it’s unclear how much Amazon spent marketing the film. It looks bad purely based on the budget, but let’s see how the next few weeks shake out and also be cognizant of the fact that Amazon has the ability to sell this worldwide and also doesn’t have to pay to acquire this film for release on their streaming service (Netflix spent $60M just for The Cloverfield Paradox).  In fact, for all we know, this limited release is just a play for an Oscar run later this year/early next.

As for Universal Pictures’ Halloween, the slasher sequel has now topped $225M worldwide (it sits at $229M globally) after adding another $11M this weekend for a $150M domestic total. As previously reported, this is the largest film in the franchise. Also, contrary to reports, after adjusting for inflation, Halloween is not bigger than Scream (yet). No matter, a sequel is guaranteed.

Looking in on Columbia Pictures’ Venom, it added another $7.8M domestic and is just about to pass $200M. Globally, it’s approaching $550M with it opening in China next weekend. Carnage, here we come.