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R.I.P. (Read In Pieces)— Here Lies the Full Film Review Archive

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tfw u goth af but gotta go to church w/the fam on Easter Sunday ☠️ #Horror #HorrorFan #TFW #HorrorArt #Creepy #FuckEaster

Me, trying to fight off anxiety to go to sleep. 💀😴 #Horror #Nightmares #HorrorFan #Creepy #WTF #HorrorArt #Disturbing

THE MUMMY (1932) is Father Gore's favourite Universal Monsters Picture. What's yours? 💀 #HorrorFan #UniversalMonsters #UniversalPictures #Horror #Film #BorisKarloff #HorrorMovies #TheMummy #PreCodeHorror #PreCodeHollywood

BLACKBURN ASYLUM (2015) "A forest fire and a rockslide trap bickering college friends in an Alaskan ghost town that has a horrifying past." 🔪🔪🔪 Mostly similar to the 4th WRONG TURN movie, & at times the franchise as a whole, but this flick could've been a lot worse— it's better than the majority of the WRONG TURN movies, too. Standard backwoods horror fare with creepy locals & even creepier killers. Good backstory. Lots of nasty horror. Practical effects are 🤘🏻! Recommended for a lazy day on the weekend when you want to lay back & experience some sleazy terror with a couple quirks. 💀 #Horror #CanadianHorror #Film #HorrorMovies #HorrorFan #Movies #CanadianFilm

Did you know? The 1st adaptation of Mary Shelley's Frankenstein wasn't the 1931 James Whale film starring Boris Karloff— it was a 14-minute short film from 1910, produced by Edison Studios and directed by J. Searle Dawley, and starring Charles Stanton Ogle as the Monster. Dawley shot the film in three to four days at Edison Studios in the Bronx, NYC. The production was deliberately designed to de-emphasise the horrific aspects of the story and focus on the story's mystical and psychological elements: "In making the film the Edison Co. has carefully tried to eliminate all actual repulsive situations and to concentrate its endeavours upon the mystic and psychological problems that are to be found in this weird tale. Whenever, therefore, the film differs from the original story it is purely with the idea of elimination of what would be repulsive to a moving picture audience." 💀 #Horror #Frankenstein #HorrorMovies #1910 #MaryShelley #EdisonStudios #ShortFilm #HorrorFan #InstaHorror #FrankensteinsMonster #

#AmericanHorrorStory #Alien #RidleyScott #IanHolm #Horror #SciFi #KathyBates #AHSApocalypse #HorrorMovies #ScienceFiction #AHS

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Home of Horror Critical Theory & In-Depth TV Recaps

Tagged Bon Iver

Legion – Chapter 12

David struggles to free Syd from her mental maze

Published: 04/25/2018

Words: Father Gore

Aubrey Plaza
Dan Stevens
FX
Jean Smart
Legion
Rachel Keller
Season 2

Bon Iver
Lily Rabe
Physical Love
Rachel Keller
Rebirth
Sisyphus

Featured Articles

Father Son Holy Gore’s Interview with Larry Fessenden
[Trailer Debut] NEW WOMAN: Newfoundland Short Film Goes Gothic
[The Twisted Parallels of Cinema] Edition #1
SUSPIRIA Bathes in (Blood &) the Power of Women
“No more pain, no more death”: Fatalism, Free Will, & Fighting the Past in THE RITUAL
Destructive Legacies of Fatherhood in Larry Fessenden’s DEPRAVED
Jenn Wexler’s THE RANGER: A Punk Rock Manifesto for Women
BLOOD RAGE’s Gory Freudian Nightmare
FEAR: Queasy Male Jealousy and Patriarchal Control
PEEPING TOM Implicates Us All
HEREDITARY’s Dark Heart of Grief and Mental Illness
Trip Into a Horror of ’80s Fears with MANDY
UPGRADE: The Abject Anxieties of Bodies + Technology
[Essay]”Fear is a place”: SESSION 9’s Gothic Madness in Uncanny Places
KILL LIST: Gothic Nationalism’s Violent Erasure of Modernity
UNSANE Exposes Our Sad Society of Disbelief for Women’s Realities
Violent Evolution + Cycles of Life/Death in ANNIHILATION
VENOM: Socialism’s Accidental Super-Antihero
BORGMAN: Kabbalah and Marx in the Garden of Eden
[Video]Father Gore’s 5 Scary Flicks
SLEEPAWAY CAMP and the Horror of Enforcing Gender Roles
SLICE: Mediocre Horror Doubles as Killer Modern Satire
PYEWACKET— Or, How to Destroy Yourself + Others with Grief
Unhealthy Fetish + Sexualised Trauma in Brett Leonard’s FEED
FRONTIER(S): Post-WWII Gothic and Political Invasion of the Body
Prayers to a Consumer God: American Decay + Ideological Control in THEY LIVE
Taking Back the Night with MS. 45: Gendered Fear in City Spaces
Multicultural Hope from the Gutters of America in LOWLIFE
[Essay]Stephen King— Modern Folklorist and Old School Storyteller
The Male Gaze & Violent Religion in REVENGE
BLOODLANDS: An Albanian Parable
ESCAPE FROM NEW YORK: Carpenter’s Hyperviolent Dystopian Prison State
[Essay]FUNNY GAMES: Confront Yourself
THE FIRST PURGE is a Dark Mirror of Current America
Hidden Digital Lives in SEARCHING
SADIE and the Child Soldiers of America
TYREL: Relative Terror in Black/White
CAM: This (Postmodern) Woman’s Work
Mackenzie and Pine De-Mythologise Robert the Bruce in OUTLAW KING
Damaged Masculinity + Small Town Fates in BACK ROADS
“We should have never come to this house”: Freud’s Uncanny & the Modern Gothic in SINISTER
Transgenerational Wounds of Post-Pinochet Chile in TRAUMA
[Slamdance 2019] The Gorgeous Face of Catharsis in HAPPY FACE
Dichotomies of Violence: Abuse, Autonomy, and BDSM in Nicolas Pesce’s PIERCING

Help Father Gore Publish More!

Help Father Gore Publish More!

Buy me a coffee. Or a new pen. Or some journals (I still write old school). Or maybe it'll go towards making sure I have a roof over my head. Either way, even a tiny bit helps.

$5.00

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Father Gore

Father Gore is first and foremost a passionate lover of film— especially horror. He's also a Master's candidate at Memorial University of Newfoundland with a concentration in postmodern critical theory, currently writing a thesis which will be his debut novel of literary fiction, titled Silence. He also used to write for Film Inquiry frequently during 2016-17 and is currently contributing to Scriptophobic in a column called Serial Killer Celluloid focusing on film adaptations about real life murderers. As of September 2018, Father Gore is an official member of the Online Film Critics Society.

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