Horror Criticism

Visions have always been...my pasture. I almost think there is no wisdom comparable to that of exchanging the realities of life for dreams. Old castles, old pictures, old histories take one back into centuries that cannot disappoint. I waked one morning from a dream of which all I could recover was that I had thought myself in an ancient castle and that on the uppermost banister of a great staircase I saw a gigantic hand in armour. In the evening I sat down to write, without knowing in the least what I intended to say or relate.

Many creatures lurk in the dark, weaving on top of one another, roiling together like waves on the night sea. The darkness forms in layers to encompass the land, fill the corners, and obscure angles. Untold mysteries lie just beyond reach told in many tongues, many inflections, many rhythms. The stories are many. Innumerable. Legion.

Film historian David Thomson, leads us into this very delicate subject. While unpacking classics such as Seven, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process. Murder and the Movies admits us into what Thomson calls "a warped triangle": the creator working out a compelling death; the killer doing his and her best; and the entranced spectator trying to cling to life and a proper sense of decency.

I was a “Monster Kid” and “The Weird Kid, The Horror Movie Kid.” I found out early…horror is always personal. Now I make horror for a living. It shouldn’t just be WATCHED. Horror should be ENJOYED. This isn’t some stuffy analysis telling you what’s good or bad. Instead, it’s a tour of the 1930s through the 1980s—a personal account of how the best and worst of this era gave us so many memories and experiences that impacted our own lives. It’s fun…just how horror should always be.

A Nightmare on Elm Street. Halloween. Night of the Living Dead. These films have been indelibly stamped on moviegoers' psyches and are now considered seminal works of horror. Guiding readers along the twisted paths between audience, auteur, and cultural history, author Kendall R. Phillips reveals the macabre visions of these films' directors in Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film.

At 14, Bronislaw Huberman played the Brahms "Violin Concerto" in Vienna, winning high praise from the composer himself. Instantly famous, Huberman began touring all over the world and received invitations to play for royalty across Europe. But after witnessing the tragedy of World War I, he committed his phenomenal talent and celebrity to aid humanity. After studying at the Sorbonne in Paris, Huberman joined the ranks of Sigmund Freud and Albert Einstein in calling for peace through the Pan European Movement.