Midsommar is the greatest horror film ever made.

Not because it is shocking.
Not because it is fashionable.
Not because it flatters critics who confuse slowness with sophistication.

It is the greatest because it understands something fundamental about horror that most films — and most commentary — still refuse to confront.

Horror is not about darkness.

It is about transformation.

And no modern film stages transformation more completely than Midsommar.

The Opening That Already Feels Like a Coffin

The opening alone accomplishes more than most horror films manage in their entire runtime.

Snow. Silence. A sister’s email that feels wrong before the details even register. The camera drifting through a house that already feels sealed off from the world. Exhaust creeping through taped hoses.

No theatrical manipulation. No dramatic orchestration.

Just inevitability.

Then Dani’s scream.

It is not cinematic grief. It is rupture. A human being splitting open.

Christian holds her the way someone holds an obligation they’re already tired of.

That is the first monster in the film.

Not the cult.

Christian.

Christian Was Always the First Monster

From that moment forward, Midsommar makes a decision most horror films are too cautious to make.

It refuses shadow.

It drags horror into full daylight.

The Swedish countryside is not ominous in the traditional sense. It is vibrant. Saturated. Beautiful to the point of distortion. The sky is endless. The grass too green. The smiles too synchronized.

There are no corners to retreat into.

You must sit with everything.

People who call Midsommar “not scary” are mistaking noise for horror.

Startle reflex is not dread.

Darkness is not depth.

And jump scares are not transformation.

Midsommar does not startle you.

It dismantles you.

Thrown Over the Edge – No Looking Away

The cliff sequence is the dividing line.

In lesser hands, it would cut away. Suggest violence. Preserve aesthetic distance.

Aster doesn’t.

The bodies hit the rock. The skull fractures incorrectly. The mallet finishes what gravity began.

The Americans recoil in horror — not because death is unfamiliar, but because ritualized death confronts their moral comfort.

They want culture as spectacle.

Not culture as conviction.

Dani trembles. Christian explains. The group rationalizes.

The horror is not just the ritual.

It is the vacancy of the people witnessing it.

Facing the Void in His Eyes

The director’s cut sharpens this further.

The extended argument between Dani and Christian after the ritual stretches the emotional erosion. He doesn’t explode. He dissolves responsibility. He reframes her discomfort as instability.

That subtle corrosion is more unsettling than any masked killer.

The added river ritual scene matters too. Dani questions what she sees. She engages morally. She is not drifting toward the cult — she is moving, step by step, toward belonging.

By the time she is crowned May Queen, it does not feel like indoctrination.

It feels like completion.

Where a Family Is Forged in Fire

Here is the truth most viewers resist:

The cult works.

It is monstrous. It manipulates. It murders. It burns people alive inside a wooden temple.

And it is also the first community in the film that mirrors Dani’s grief instead of tolerating it.

When she discovers Christian in the mating ritual — paralyzed, absurd, surrounded by chanting women — her breakdown is the final purge of emotion.

The Harga wail with her.

They match her breathing. They collapse when she collapses. They hold her face as if her pain is communal property.

It is horrifying.

It is predatory.

It is exactly what she has been starving for.

Christian forgot her birthday.

The cult hands her a crown.

The final act is not revenge.

It is a choice.

Christian sewn into a bear is mythic and grotesque. The temple burns. The chosen nine scream as fire consumes oxygen and ritual collapses into instinct.

Pain does not care about ideology.

And Dani stands there.

Crying.

Then not.

That smile is not madness.

It is release.

She has severed the last tether to a life defined by emotional vacancy.

She has chosen a family that sees her.

It just happens to be a family that sacrifices outsiders.

If that disturbs you more than Christian’s quiet indifference ever did, sit with that.

Midsommar is the greatest horror film ever made because it refuses to let horror remain cosmetic.

It does not rely on darkness.

It does not hide behind ambiguity.

It stages grief, dependency, ritual, and belonging in unforgiving daylight.

Fear is not always about escape.

Sometimes it is about finding a place where your damage fits perfectly.

Midsommar understands that.

It does not flinch.

It does not apologize.

It does not dim the sun.

Horror peaked in the daylight.

And it has been trying to catch up ever since.

Not last month.
Not a short creative lull.

Over a year ago.

If you checked back and found nothing — no essays, no long dissections of whatever horror film was dominating discourse that week —

You weren’t imagining it.

I stopped.

Deliberately.

But the truth is, I had silenced myself long before I stopped writing.

Horror didn’t slow down.

The release schedule kept moving. The think pieces multiplied. Every new film was declared either revolutionary or fraudulent before the credits cooled.

And somewhere in that noise, something in me went quiet.

The commentary began to feel procedural.

The same vocabulary.
The same academic metaphors.
The same carefully neutral hedging so no one upset the “elevated horror” crowd or the slasher loyalists.

Every take felt pre-approved.

Pre-digested.

Safe.

And I felt myself drifting toward that safety.

That’s when I realized something worse than burnout.

I was falling out of love with horror.

Not with the genre itself.

With the performance around it.

The idea of writing another perfectly structured breakdown.
Another balanced take.
Another polished argument designed to grow an audience.

It started to feel like manufacturing content.

Like producing slop for the masses dressed up as insight.

Trying to grow an audience began to feel like a job.

And the thought of turning horror — the genre that once unsettled me — into a procedural output machine felt like the most disturbing horror movie I’d never seen.

So I stepped away.

Since November 2024.

When you analyze horror long enough, fear becomes mechanical.

You start identifying structure before tension.
You predict symbolic arcs before the third act unfolds.
You recognize the coming discourse before the credits roll.

The house stops being haunted.

You see the wiring.

And once you see the wiring, it’s hard to be afraid.

I didn’t want to become another voice explaining horror from a comfortable distance.

So I stopped explaining.

Over the past year, I watched differently.

No notes.

No angles.

No immediate verdicts.

I rewatched films I once praised and realized I’d softened my critiques to sound reasonable.

I revisited films I dismissed and found some of them weren’t misunderstood — they were just messy.

I let certain slow-burn darlings bore me without convincing myself they were profound because they were quiet and well-lit.

And I let other films disturb me without rushing to intellectualize the discomfort.

That distance did something I didn’t expect.

It brought back friction.

It brought back irritation.

It brought back conviction.

And slowly, it brought back fear.

Here’s what I came back with:

Horror doesn’t need more diplomatic commentary.

It doesn’t need more “both sides” film criticism.

It doesn’t need another voice ranking jump scares while pretending to be above it all.

It needs honesty.

It needs someone willing to say:

This film isn’t brilliant just because it’s slow.

This one isn’t misunderstood — it’s incoherent.

This so-called masterpiece collapses under scrutiny.

And sometimes:

This movie is greater than your sacred classics, and I’m not softening that statement to make it easier to digest.

If you’ve been here from the beginning, you know this space was never about algorithm-chasing.

It was about asking why certain horror films linger long after others evaporate.

That hasn’t changed.

What’s changed is my tolerance for neutrality.

The middle ground is crowded.

I’m not interested in living there.

This isn’t a comeback.

It’s a correction.

The lights are back on.

The basement door is open.

But this time, we’re not politely observing what’s inside.

We’re confronting it.

There are untouchable horror films that deserve sharper scrutiny.

There are modern darlings that need to be challenged.

There are forgotten titles worth defending loudly.

And there are sacred cows that might not survive the next year.

Silence gave me something I didn’t have before.

Clarity.

And there’s a film I’ve known, for a long time, deserves more than careful language.

In the coming days, I’m finally going to say what I should have said years ago.

Without sanding the edges down.

Let’s see who stays.

If you’ve been around here for a bit, you may recall seeing this movie on my top ten Halloween movies list, coming in at number ten. As I said in that article, there’s a part of me that wanted to rate it much higher. So what’s the deal? What makes it so amazing? After a lot of soul searching, I think it’s really just a case of feeling nostalgic for me. It puts me right back in front of a tube TV with a VHS in hand, ready to watch a not-so-great horror movie that had cool cover art on a Saturday night. I was definitely not out of elementary school when I got my hands on this film and probably shouldn’t have been watching it. Even with that said, I feel like Sleepwalkers never got the love that similar movies of the ’80s and ’90s commanded in the horror community. Sleepwalkers delivers a who's who of horror community cameos, were-cats, and, while I wouldn’t call it Stephen King’s best work, it absolutely deserves a second look.

A couple of important disclaimers before we dive too deeply into this film: no cats were harmed in the making of this movie. I feel odd having to say that, but strange disclaimers all exist for a reason. Next, this article will have a fair bit of spoilers, but I do omit most of the ending. It’s been out over 30 years, so I don’t feel too bad about being a bit more plot-specific.

In the Scream Factory Blu-Ray release, director Mick Garris described his style as "Norman Rockwell goes to hell," and by the final act, it certainly delivers. This is Stephen King’s first original screenplay and opened at number one at the box office its first weekend. Though it fell to number four the following weekend, it was edged out of the number three spot by Beethoven.

Directed by Mick Garris, who you may know from Critters 2: The Main Course or Psycho IV: The Beginning, King would later enlist the help of Garris to direct his made-for-TV miniseries The Shining (1997) in an attempt to more accurately reflect the book. Mädchen Amick, who plays our final girl Tanya Robertson, delivers the best acting of the film. While the other leads, Brian Krause and Alice Krige, weren’t terrible, Mädchen totally steals the show. Also, one of the things this film really does well is the amazing soundtrack. The inclusion of “Sleepwalk” throughout key moments of the film is one of those very clever nods that show you people actually cared while making this movie.

Now, can we talk amazing cameos? Let’s just start with our opening act: Mark Hamill in an uncredited role as the police officer who discovers the soulless bodies of previous victims. But wait, there’s more! Stephen King, the graveyard caretaker, and Clive Barker, the forensic technician, share a scene. John Landis, director of An American Werewolf in London, appears as a lab tech. Then Tobe Hooper, of The Texas Chainsaw Massacre, as another forensic technician.

Not sure what the whole story behind this anomaly was. Did these guys just hang out a lot and decide to mess with everyone by being in one movie? Did Stephen King call in some favors to try and get more hype behind his first screenplay? I am aware some of these answers can be found in Post Mortem with Mick Garris, a podcast the director put out that ended in 2023, but being brutally honest here, I have not had a chance to check it out yet.

The film, in its time, was not received well. I was able to come across a Los Angeles Times article from April 13, 1992, where they claimed the movie would have never been made had it not been for King’s name being attached. They went even further, calling it morbid, ultra-violent, and silly. The preceding decade produced a lot of movies that were a lot more gruesome and violent, so I find this response confusing. Maybe they were expecting The Shining but instead got something completely different. Luckily, more recent reviews have been a bit kinder.

The opening sequence sets us up for the creatures we’re dealing with. We’re treated to flashes of ancient Egyptian accounts of the monsters—helping to establish the mythology. Flashing back to seeing this through my adolescent eyes, I remember thinking, “Oh damn, this is some real shit—the Egyptians knew!”

Our mother-son duo has taken up residency in Travis, Indiana, living in a house surrounded by cats who obviously sense the impending threat. One small gripe here is that throughout the film, you can clearly see they are nowhere near Indiana and are clearly in Southern California. Our lead cat creature, Charles Brady (Brian Krause), has set his sights on Tonya Robertson (Mädchen Amick), whose soul he needs to feed his mom. I guess we can address the super strange incest relationship between Mary Brady (Alice Krige) and Charles Brady here. I really don’t know how it advances the plot or why this was added. Frankly, a typical overbearing mother type could have been written into the script to make this less weird for all of us.

One of my favorite scenes of the entire movie is one that actually feels like it doesn’t even belong in the film. It’s the “movie theater” scene. Instead of feeling like a critical horror setup scene, it feels much more akin to a late ’80s coming-of-age drama where a girl dances with her Walkman. Mädchen Amick kills it with the dance moves, and the soundtrack puts it over the top. And, of course, we get Enya to close out the scene. The movie theater is also our chance for hunter and hunted to meet each other’s acquaintance.

Charles later decides to drive like a complete asshole through town, where he gains the attention of the local police. This is when we’re all introduced to the real star of the movie—Clovis, the attack cat, whose mere presence causes Charles to start shapeshifting in an uncontrolled manner. While looking back, the CGI appears pretty bad; it was actually some very new tech at the time, only being used on one previous occasion: the Michael Jackson music video “Black or White.” Charles is then able to pull over and make his entire car invisible, thus evading Officer Simpson and Clovis for now.

Tanya arrives at the Brady residence unannounced and is given the grand tour by the all-too-creepy Mary Brady, whose true identity is revealed when looking in the mirror. The couple decides to leave and head out on their preplanned graveyard first date. While I’ve never lived in small-town Indiana, I can assure you a cemetery picnic would have sent off some major red flags in my head. This is where shit hits the fan, and Charles reveals his true intentions. While the attempted soul thieving is ongoing and Tanya is kicking ass, Police Officer Andy Simpson recognizes the Trans-Am parked out front of the graveyard. This leads us to the pencil kill and Clovis showing up in a big spot to save the day. Charles then makes his escape, badly injured. The following moments are when we get the Stephen King–Clive Barker screen share. While I think King is a horror mastermind, by seeing this one scene alone, I can safely say acting is not his primary talent.

Following the horrific attack, the police manage to fuck this up about as badly as anyone could. Not only can they not find Charles or his mother due to their shapeshifting skills, but the officer charged with protecting Tanya decides to get a bite to eat while on the job and promptly earns a corncob through his back for his negligence, while Ron Perlman loses a hand. The final scenes are chaotic for sure—Mary Brady manages to blow up two cop cars with a single bullet apiece and abduct Tanya. I won’t fully spoil the end here, even though it’s been out thirty years, and if you’re reading this, you’ve probably seen it.

Hopefully, you’ve read this and are now scouring streaming services to catch this often-slept-on Stephen King original. Sleepwalkers is absolutely not on par with a lot of King’s other famous works, but that doesn’t mean it’s not worth watching. With so many other movies that are objectively worse being placed on pedestals, one can’t help but wonder why this movie was left behind. It could be because 1992 actually had such a stacked horror resume, with films like Dracula, Candyman, and Hellraiser III being released, that a campy, fun film about cat people couldn’t compete. Or maybe it’s just as simple as horror fans of the world preferring dogs. Either way, I will continue to pound the proverbial table until I see Clovis the cat get the respect he has been denied the last thirty years.

Score: 7/10

If you’ve lived in the suburban U.S. for any length of time, you’re all too familiar with the Saturday knock at the door. Some religious group or another has shown up to bring you the good news. This could be any number of religious groups—Jehovah’s Witnesses, Mormons, or even Scientologists—delivered straight to your door to save your soul. Luckily, with the advent of doorbell cameras, these encounters have become less and less frequent for me. I can quickly determine if someone has arrived to sell me something, whether physical or spiritual, and I can kindly tell them I’m not interested without ever leaving my couch. Heretic led me to rethink exactly how dangerous this practice might be for our suburban missionaries.

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) show up at the doorstep of Mr. Reed (Hugh Grant) looking to talk salvation and quickly find themselves in hell. Once they are inside the home, the tension builds rapidly. The sisters quickly realize that things in the Reed house aren’t quite what they seem. The beginning of the film is excellent, as you can feel dread and terror building as Sister Barnes and Sister Paxton slowly start to realize they may not necessarily be free to leave. The midpoint of the film has some odd pacing, and the simple theological lessons feel like they drag a bit in places, although this didn’t pull me out of the film or make me less interested in seeing exactly where this A24 spiritual journey would take me.

The final act does deliver; although I can’t say the ending was shocking or surprising, it was satisfying. While Heretic is not the same jump-scare, gore-focused horror flick we’ve seen plenty of this year, it does offer a psychological horror experience I didn't realize I needed. While not what I would consider “scary,” let’s just call it very tense and even pretty thought-provoking. Writers-directors Scott Beck and Bryan Woods manage to pull off something pretty amazing that I didn’t think would be possible with a movie like this. It’s not an indictment on religious views, nor is it an endorsement. It threads a needle that would make the most seasoned politician jealous.

This is not your Notting Hill Hugh Grant. I thought for sure I wouldn’t be able to buy him as a psychological horror villain, but he absolutely crushes this role, and I can only hope we see more of this from him—maybe like a Nicholas Cage renaissance? The acting all around in this movie is amazing, and even in some of the midpoint moments that I felt were dragging, this cast carries it. Chloe East, as the innocent and naive Sister Paxton, who at first doesn’t seem like she could go toe-to-toe with a potato in a theological debate, flipping the switch and putting Mr. Reed on his heels, was one of the “Oh damn” moments of the film that had me hooked. Sophie Thatcher, as Sister Barnes, the more street-smart, no-nonsense door-to-door “Soul saver,” was amazing, and I can’t believe how great this cast was overall.

While Heretic probably won’t scare the shit out of you or leave you questioning your reality. It is another amazing film in the ever growing A24 arsenal and I can only hope for more of the same.

Rating 7/10

I remember a time before the advent of streaming when every Friday, you could count on finding me at the local video store, renting or purchasing new (or new-to-me) movies. It almost felt like a sacred ritual: the work week was over, and it was time to decide what I’d spend my weekend watching. I had no Letterboxd to consult, no IMDb to sway my opinion. Operating on emotion and impulse, box art and word of mouth were king. Once the selection was finally made, the next step was something rare in today’s world—a face-to-face interaction with another human. The Blockbuster employee would check your selections, let you know what they thought about them, and suggest other movies for next time. Holding those movies in your hand was a tactile experience that today’s youth may never know.

It was around 2009 or 2010 when streaming started to really flex its muscles. Video stores around me slowly began closing their doors. At the time, I was ecstatic; the thought of having all these movies available to me from my couch made me quickly dismiss the age of DVDs as a relic of antiquity. Being a creature of convenience, I couldn’t fathom why people I knew were still buying movies or using a Redbox. Over time, however, the flaws in my logic started to become apparent. All it would take was a short internet outage to throw your once-sacred ritual into the dumpster. One aspect my streaming-obsessed brain never considered was the legal side of the movie industry. What if a studio sells the rights to a film? What happens if, for contractual reasons, you can no longer stream the film you “purchased”? In our rush to consume content at an ever-faster pace, many of us simply never found the time to read the terms of service. When you purchase a digital movie, you are technically only purchasing a license to view it, and—though unlikely—it could be taken back at any time.

If, in your haste to race into the future, you threw out all your physical media players, you might find that some of the films you want to watch are simply unavailable to you. One such title, for me, is 28 Days Later (2002). A few months back, I suddenly had a strong urge to watch this 2002 zombie film. After searching every streaming platform I could think of, I came up empty. Apparently, Sony purchased the rights from Disney, but Disney retained the rights to the sequel 28 Weeks Later (2007). I thought, “No worries, I’ll buy a copy from Amazon.” As of the date of this article, though, the cheapest Blu-ray on Amazon is $95 plus shipping. A DVD can be had for much less, but if you’re looking for the best image quality, it’s going to cost you. The last I heard, a sequel 28 Years Later is in the works, and maybe we will see a return to streaming—but maybe not. This is just one example of many movies you will simply never be able to see if digital is your only option.

I always had friends and acquaintances who would preach at length about the visual and audio benefits of discs versus streaming. Until I actually had a setup that allowed me to really appreciate Blu-ray and 4K UHD movies, I dismissed these arguments as the ramblings of collectors holding onto the past. Let’s start with audio—and I’ll preface this by admitting that audio engineering is absolutely not my area of expertise. When you put a disc in, you get uncompressed audio, while streaming compresses the data. Plus, with streaming, there are numerous variables like your internet speed that affect the quality of sound you’re receiving. When I just had a TV hooked up to the internet and a DVD player, I couldn’t tell a difference in quality—and if this is how you watch movies, you probably won’t notice either. Without getting way out of my depth with technical specs, I’ll share my personal observations. Once I upgraded to a moderately priced sound system and UHD TV, the difference in sound quality was very apparent, most notably with bass and sound effects. Now for video quality, this is where I feel streaming and physical discs are the closest. Physical media is the clear winner, but the gap isn’t nearly as large as it is for audio. Darks are darker (which didn’t make sense to me when people first said it either), and fire and bright scenes are noticeably crisper from a 4K disc on an OLED TV. I’m sure there are some AV enthusiasts out there who can explain this in ways that would completely fry my brain, but suffice to say, streaming cannot compare to discs—and seeing is truly believing here.

The box art on physical releases can be amazing works of art. Part of the old-school home video appeal was this incredible artwork. There are many movies over the years that I never would have considered watching if it weren’t for the interesting artwork. Some of the more boutique releases come with books and posters that add to the value of owning a physical copy of a movie. Special features included with physical discs are one of the best perks people have seemingly forgotten about over the years. Being able to watch your favorite film with the director and lead actor giving insights you otherwise would never know is one of the greatest joys of owning physical media. Features about the lore or making of a film are usually included as well. I’ve noticed some streaming services do offer features when a movie is purchased, but the quantity and quality just aren’t there yet.

By purchasing physical media, you also become a curator of history. Countless stories can be found about original film negatives being lost or destroyed. Once you have a film in your collection, you never need to worry about streaming services removing it or, in the depths of my darkest dystopian imagination, a government blacklisting a movie at some point in the future. Once a disc goes out of print, it may never come back. Just look at the prices for 28 Days Later again.

While I can’t argue against the efficiency and convenience of streaming, and I won’t be canceling my Netflix account anytime soon, I will admit that if you’re looking to buy movies in the latest and greatest format, the price can be pretty off-putting. If you’re here reading this, I can only assume you’re a true fan of cinema, and I hope I can convince you to buy a copy of your favorite movie—and support a local video store near you, if you still have one.

I also wanted to take this time to outline a possible roadmap for where I’d like to see Joe Is Afraid before Halloween 2025. I plan to put more effort into writing about the numerous 4K transfers being done for some of my favorite classic horror movies. Looking ahead, I would love to get into podcasting or video while keeping the same great written content. If there is any other content you would like to see as a subscriber, I would love to hear about it!

Thank you so much for being a subscriber to Joe Is Afraid, and I hope you have a very happy Halloween!

Recently, I took an impromptu hiatus due to the storms in the southeastern U.S. Movie theaters near me were closed, and internet was spotty at best. After returning from a much-needed break, I was eager to dive back into my “must-see” movie list, with Terrifier 3 topping the lineup. The previous entry in the franchise surprised me with its box-office success despite its intense gore, unusual for mainstream horror. This third installment delivers more of the same blood-soaked thrills, but writer-director Damien Leone adds some unexpected layers of lore this time around.

The story picks up exactly where Terrifier 2 left off: Art the Clown is resurrected and promptly embarks on a holiday-themed killing spree. Personally, I’m less invested in Art’s backstory or his supernatural origins. While the film provides some clever explanations for his reanimation and establishes Sienna as a potential "savior" against the demonic killer, I tend to favor the Michael Myers approach—no explanation needed. Art is clearly an embodiment of pure evil. What really captivates me here is the expertly executed gore. The film ramps up the tension, leaving viewers on edge, anxiously awaiting Sienna’s next move. In a packed theater, I noticed audience members squirming as the kills escalated, with some even taking breaks during key scenes. By the infamous "shower scene," the entire theater held its breath, and those who came for a casual Halloween scare were fervently hoping for Sienna to live up to her hero role.

But Terrifier 3 isn’t just relentless gore; Leone cleverly layers in humor to give viewers a break from the visceral intensity. One memorable scene, where Art finds himself in a bar for working Santas, had me laughing more than I expected in a Terrifier film. Several other moments struck an unexpectedly funny chord, and I even felt guilty for laughing at times. Lauren LaVera delivers an outstanding final-girl performance as Sienna. She’s tough, but also human, dealing with the lingering trauma from the last installment. The film isn’t afraid to show the toll these experiences have taken on her.

After leaving the theater, I pondered the franchise’s surprising mainstream appeal. In past decades, a character like Art the Clown would have sparked outrage and calls for censorship. Today, however, it seems Terrifier has found its audience at the right time. In a world where real horrors are broadcast on our smartphones daily, Terrifier 3 offers a bizarre sense of “safe” horror. The movie’s gore feels almost cathartic compared to real-world events we can’t escape. Audiences have become harder to shock, and part of Terrifier’s draw is the shared experience of witnessing its extremity. Fans swap tales of “outrageous kills,” fueling curiosity and attendance. While Terrifier 3 isn’t groundbreaking in horror, Leone has achieved what few VHS-era films could—welcoming Art the Clown into mainstream horror with surprising success.

Leone delivers another cult-classic hit with strong box-office numbers, proving the appeal of his low-budget, high-shock formula. The film’s conclusion sets up a promising fourth installment, with Sienna’s mission far from over. Whether the franchise can sustain its appeal with mainstream audiences remains to be seen, but for now, Leone’s vision reigns supreme.

Score: 7/10

Living in Tampa, Florida, I knew there was only one true video store nearby—Viper Video. So, on a Monday morning, I set off, only to find through their social media that they were closed. Determined to find something unique, I turned to Google and stumbled upon a local business called The Sound Exchange. As the name suggests, they mainly deal in audio—vinyl, cassettes, and even 8-tracks. However, a review mentioned their sizable selection of DVDs and Blu-rays.

I arrived just after they opened, stepping into a nostalgic wonderland of vinyl turntables and reel-to-reel players. Their selection of DVDs was impressive, but I was particularly focused on Blu-rays and 4K discs to get the most out of my home theater setup. While the horror Blu-ray section was a bit sparse, I eventually found exactly the kind of movie I was seeking. One film cost me only $14 with tax—a great deal.

The movie I chose was Morbid Colors (2021), a vampire film centered on two sisters. The packaging didn’t offer much information beyond a brief description, a list of festival selections, and basic technical specs. It described the film as a dark tale about two sisters, one of whom has become a vampire. Despite its low IMDb rating of 4.9/10 from only 70 reviews, I decided to give it a try—after all, I don’t put much stock in ratings, especially in the horror genre. A low-budget vampire flick isn't The Shawshank Redemption, and they shouldn't be judged by the same standards.

Morbid Colors (2021) Review

Going in with low expectations, I was pleasantly surprised. Writer-director Matthew Packman manages to make you care about the characters. The plot follows Myca and Devin, two sisters played by Kara Gray and Lanae Hyneman, as they attempt to reverse Myca’s vampirism by hunting down the woman responsible. While the vampirism drives the plot, the real story is about two sisters grappling with trauma. The film downplays typical vampire tropes—there are no supernatural powers, no aversion to sunlight, and no dramatic stakes through the heart. Myca simply needs blood to avoid feeling ill.

Though the film doesn’t deliver any real scares, it makes up for it with moody, dark imagery and of course blood. If you’re a fan of metal music the soundtrack is phenomenal. The film’s ending doesn’t offer the characters much closure—killing the vampire doesn’t resolve their deeper emotional wounds. As Devin says in the final act, “There’s no more monsters, it’s just us.” This line perfectly encapsulates the film’s focus on personal trauma rather than supernatural horror.

However, there was a technical issue during the dark scenes—small pinholes of light appeared on the screen. I’m not sure if this was due to the disc transfer or a flaw in the filming itself, but it was a minor distraction.

If you’re looking for a moody, character-driven family drama with a vampire twist, Morbid Colors is worth a watch. It’s streaming on various platforms, so give it a try if you're in the mood for something different.

Score: 5.5/10

This week I was unable to deliver the content I wanted for everyone out there as mother nature had other plans for me. So let me pull back the curtains for a moment, I live in one of the weirdest places on earth…..Florida. In Florida there are a couple things we have in abundance, alligators and hurricanes. This year I was visited by a near annual nemesis of mine, this one was named Helene. First me an my family are safe and feeling very lucky. My thoughts are with everyone in the southeastern United States who were not as fortunate as me.

A recent tradition of mine when caught in the path of a Hurricane is to revisit one of my favorite creature features of the last few years Crawl (2019) a film that feels more like a real Florida happening than any film I know of.

A Florida University swim team athlete finds herself in the path of a hurricane and can’t get in contact with her dad who lives somewhere further south. The movie doesn’t do a lot of explaining about the locations and distances but residents of the state would be familiar with the location of UF and the road signs give clues as to how far south she must travel. Haley played by Kaya Scodelario while weather conditions around her are declining rapidly is finally able to find her father Dave played by Barry Pepper trapped in a crawl space under a house he was renovating. As if weather conditions from a large hurricane weren’t scary enough our duo is soon faced with a large group of frenzied alligators.

Director Alexandre Aja does a fantastic job of conveying the most realistic fear of a hurricane, the rising waters. Anyone who knows a thing or two about alligators would also know that as the water gets deeper they become far deadlier. The dual threat of things that can kill you is what makes this a one of my favorites of the genre. The special effects are great, the gators look very realistic and don’t pull you out of the story. While this film would never be screened in front of your art house friends it’s a fun watch

I will not spoil this one for you if you haven’t seen it go watch it and find out for yourself if they ever escape the crawl space! I’m also fairly certain shooting for Crawl 2 has recently begun or will be staring soon. As for me I hope to get back to my normal content schedule this week. I would also like to encourage anyone reading this to do your research on charitable organizations making a difference for those impacted by Helene and consider making a donation. The American Red Cross is a great starting point and I have seen them with my own eyes providing shelter for displaced families. Also apologies in advance for any egregious errors as this is going out with zero proof reads because I still have a fence to fix.

A couple of months ago, I started hearing whispers about what a phenomenal film The Substance was. I usually avoid buying into film festival hype, having been disappointed before by overblown expectations based on long standing ovations. However, The Substance is the real deal. The first thing that blew me away was the sheer level of gore that writer/director Coralie Fargeat opted for. I caught an early Saturday showing, and it was clear that many of the audience members had no idea what they had signed up for. During an especially gruesome moment in the last 45 minutes, two people in my row got up, walked out, and didn’t return.

Coralie does a fantastic job of highlighting the issues and challenges women face in modern society, especially regarding unrealistic beauty standards and the internal struggles they bring. Dennis Quaid shines as Harvey, the nightmare chauvinist boss, a performance that truly embodies the gross indifference of his character. In one particularly memorable scene, Harvey slurps down shrimp with such disdainful nonchalance that it cuts through the screen like a knife.

Demi Moore plays Elizabeth Sparkle, a woman booted from her job by Harvey in favor of "younger, hotter" talent. She's then presented with a miraculous opportunity to become the best version of herself—but, of course, there are some caveats. One small nitpick: how did Elizabeth figure out what to do with instructions that vague? Nonetheless, she ends up creating a bizarre "time-share" arrangement with her younger, "better" self. Predictably, things spiral out of control when youth gets the keys to the proverbial car.

Margaret Qualley plays Sue, the younger version of Elizabeth Sparkle. Sue reaps all the benefits promised by The Substance—success, career opportunities, and the ability to drink all night without consequence. However, as the movie progresses, Sue becomes increasingly dissatisfied with their arrangement. Her rule-breaking starts to have disastrous consequences for Elizabeth, yet Elizabeth remains unwilling to end the experiment.

The world crafted for this film feels like a dreamscape. Throughout, I couldn’t shake the feeling that something was off. Jazzercise is must-see TV, yet everyone has cell phones. Billboards feature faces but little information. Even Elizabeth herself moves through the world as if trapped in a strange dream—crawling into a dark, dingy space that suddenly opens into a clean, white room. These surreal elements don't detract from the film; in fact, they enhance its atmosphere. It wasn’t until my second viewing that I began to fully appreciate the surrealist touches.

I won’t spoil the final act, but buckle up—it's a wild ride. The practical effects are phenomenal and terrifying. Coralie masterfully blends humor into some of the film's most gore-laden moments, offering the audience a chance to laugh off some of the more intense scenes. The film ends on an improbable but satisfying note, with Elizabeth finally content with her image and ready to step out into the world.

While there’s still plenty of time left in the year, The Substance is sure to be high on my list of 2024 horror films. With so many bad movies out there, this is one you should absolutely treat yourself to. Catch it in theaters, and when it hits physical release, be sure to buy it. Vote with your wallet for the kind of cinema Hollywood should focus on.

Score: 8.5/10

5. Late night with the devil (2023)

Why it’s on my list:

It’s possible I’m biased by how recent this film is, but there’s no denying its impact. The movie offers a bit of everything: psychic mediums, demonic possession, worm phobia, and even a live stage band. The 1970s vibe comes through perfectly, making it feel like a true late-night Halloween special that redefines "must-see TV."

Why you should watch it:

Ever thought about selling your soul to excel at something you're passionate about? Prefer staying in and watching late-night TV on Halloween? Fascinated by live TV gone terribly wrong? Late Night with the Devil delivers the goods if you answered yes to any of these questions. It’s a fun, original twist on some of our favorite horror tropes

4. Terrifier 2 (2022)

Why it’s on my list:

I must admit, this was my first exposure to the franchise, having missed the 2016 original. Terrifier introduces a fresh slasher character who feels original rather than a rehash of old favorites. It’s packed with gore and impressive kills, and Damien Leone pulls off a 2:18 runtime that surprisingly doesn’t feel too long.

Why you should watch it:

Are you a horror fan constantly searching for more killer clown content? Do you like the idea of becoming an "art house" aficionado, crafting your own Halloween costumes? Leone raised funds for this film without the backing of major studios, proving that a determined artist can beat the odds. Originally slated for just a one-week release, it became a box office hit—a true testament to independent filmmaking.

3. Donnie Darko (2001)

Why it’s on my list:

First before you scream and smash your Halloween 3 VHS over your head, I know some of you might argue this is more science fiction than horror, but it’s perfect for a Halloween night watch. If adults still insist Hocus Pocus is a horror movie, Donnie Darko surely qualifies. The cast is phenomenal, a virtual “who’s who” of powerhouse actors. I’d love to explain the plot, but every time I rewatch it, I seem to understand less than before.

Why you should watch it:

Do you like to think of yourself as an amateur philosopher or deep thinker? Ever feared dying from falling airplane debris? While this movie demands a bit more brainpower than your average Halloween film, it's worth it. With time-traveling rabbits, Patrick Swayze as a self-help guru, and the unforgettable choreography of Sparkle Motion, it’s a must-see.

2. The Witch (2015)

Why it’s on my list:

Pilgrims battling witchcraft in the woods is an ideal premise for Halloween night. This film nails historical authenticity, and the acting—especially from a young Anya Taylor-Joy—is outstanding. The dark cinematography and ominous atmosphere keep you guessing: Is it demonic forces at play, or are the children just messing with everyone?

Why you should watch it:

Looking for a historically accurate period piece featuring a talking animal? Ever wondered what it would be like to survive off the land while battling Satan? The Witch will keep you on the edge of your seat, with an overwhelming sense of dread from start to finish. And let’s not forget the standout performance from Black Phillip!

1. Halloween (1978)

Why it’s on my list:

Was there ever any doubt that the grandfather of all slashers would top this list? While there’s debate over whether it was the first slasher, its lasting impact on the genre is undeniable. With the embodiment of evil, an iconic score, and Jamie Lee Curtis delivering one of the best "final girl" performances in history, it’s the perfect way to spend Halloween night.

Why you should watch it:

Are you a fan of mental health professionals who go above and beyond for their patients? Ever held a grudge a little longer than you should have? If you haven’t seen Halloween and consider yourself a horror fan, stop what you’re doing and watch it immediately. For me, it’s a proud Halloween tradition and an essential October viewing.

When I first saw the trailer for the 2024 film, I thought to myself, Haven’t I seen this before? The 2022 Danish version, currently streaming on Shudder, was a perfectly fine movie, and I couldn’t figure out why it needed a remake only two years later. This trailer seemed to play before nearly every theater showing I attended for months. By the end of August, I was so tired of it that I even considered skipping the film. The pre-release press and trailers made it seem like a carbon copy of the original, line for line, frame for frame. I couldn’t spot any difference. Eventually, curiosity got the better of me, and I bought a ticket for what I was almost certain was a movie I could watch for free on Shudder. To my surprise, there were real differences—and reasons to see both versions.

The original by Christian Tafdrup was dark and carried an important message about the dangers of being overly polite and accommodating. The performances by Morten Burian and Sidsel Siem Koch were fantastic—perfectly capturing a couple more concerned with avoiding offense than ensuring their own survival. In the final act of the 2022 film, the protagonists remain meek and mild, even as their daughter loses her tongue and they are driven to their deaths. Tafdrup had highlighted a significant societal flaw: sometimes, we need to be assertive—even rude—to protect ourselves.

The 2024 film follows the same blueprint for most of its runtime. So much so that I found myself struggling to spot the differences. While there are obvious changes in location and minor details, even the dialogue is often line for line the same.

So, what's new in 2024? Well, James McAvoy’s portrayal of Paddy was excellent—probably his best performance since Split. For whatever reason, when McAvoy plays an unhinged character hell-bent on murder, it feels authentic to me. The real shift comes in the final act, when the much-too-polite couple finally finds a sense of self-preservation at the last moment. I think this reflects how director James Watkins imagines an American couple would react in such a situation. While I appreciate the more action-packed ending, I’ve been an American my whole life and know plenty of people who wouldn’t be any braver than their doomed Danish counterparts.

That said, Act 3 of the 2024 film is a wild ride, adding nearly 30 minutes to the runtime. We get more details about the past misdeeds of the serial-killing hosts, which feels satisfying compared to the original, where minimal backstory was provided. The tension and the "will-they-or-won’t-they" moments at the end were gripping and had me on the edge of my seat. This final act is what gives the Blumhouse version the edge in a side-by-side comparison.

I really wanted to be an elitist and dislike this remake. Maybe it’s because the marketing was so in-your-face for months, or maybe it’s that insufferable part of us all that wants to say, “Yeah, but have you seen the original Danish version?” Despite that, I have to admit: the new version is definitely worth watching. It’s fun, it’s action-packed, and the cast delivers strong performances. The original might be more thought-provoking—what we’d call "elevated" these days—but don’t let the film snob in you stop you from enjoying a good time. Both movies are worth your attention, as each brings something unique to the table.

Speak No Evil ‘22 6/10 Speak No Evil ‘24 7/10

10. Sleepwalkers (1992)

Why it’s on my list:
Firstly, I’m a little ashamed of how much higher I wanted to place this on the list. For me, the song "Boadicea" by Enya feels like fall. I have absolutely no idea why. I think I probably saw this movie as a child around this time of year, but that’s pure speculation. Also, there are cats—and what’s more Halloween than that?

Why you should watch it:
If you haven’t seen this, you’re in for a real treat. Have you ever wondered why there aren’t more movies about were-cats or shapeshifters? Have you ever thought about what kind of chemistry Stephen King and Clive Barker would have on screen together? This movie has were-cats, and the list of cameos is wild for a film of this budget and type. Did I mention Mark Hamill is in it?

9. Ginger Snaps (2000)

Why it’s on my list:
Teen goth girls dealing with werewolf problems isn’t good enough for you? Well, this movie has the dark atmosphere that screams Halloween. It also just so happens to take place during that "special time of the month."

Why you should watch it:
If you’ve been looking for a great Canadian teen-angst movie with a horror twist, you’ve finally found it. This is also one of those home-video heroes—it performed poorly on release but was saved by all you degenerates out there with VHS/DVD players.

8. Trick ‘R Treat (2007)

Why it’s on my list:
Firstly, I must admit this movie almost didn’t make the list until a more recent rewatch. Upon reflection, there are few films more holiday-specific than this one. I also love a good anthology film. You even get to meet a Halloween version of Ebenezer Scrooge. It features Anna Paquin before True Blood and Brian Cox before he became HBO’s favorite billionaire CEO.

Why you should watch it:
Are you looking to digest several Halloween-specific stories at once? Do you wish more of your horror movies had a “happy ending”? It’s campy but still manages to maintain its edge.

7. The Blair Witch Project (1999)

Why it’s on my list:
If you’re old enough to remember the months before and after this film’s release, you’ll recall that we all thought it was real. The cast's IMDb page even listed them as deceased or missing. I can think of few movies with such an effective marketing strategy. I’m a little embarrassed to admit how long I believed it was a documentary. While this isn’t the first found-footage film, it definitely sparked a resurgence in the genre that continues to this day. And, of course, it takes place during our favorite month!

Why you should watch it:
Are you a found-footage junkie yearning for a time before GPS directions and cell phones? Have you ever been tricked into believing something was real for longer than you’re comfortable admitting? A word of caution: if you’re prone to motion sickness, have some Dramamine ready before pressing play.

6. Halloween 4: The Return of Michael Myers (1988)

Why it’s on my list:
Are you kidding? It’s the return of Michael Myers! Growing up in the Midwest, the intro sequence feels like injecting fall straight into my veins. Also, can you imagine being the ambulance driver tasked with transporting Michael Myers on October 30th? It’s okay to take a sick day now and then to stay home and watch movies.

Why you should watch it:
Have you ever wondered what it would look like if Michael Myers chose the least intimidating mask in his wardrobe for his evil deeds? Ever considered whether a pickup truck full of rednecks is the solution to a serial killer problem? Seriously though—who approved that mask? Yes, Jamie Lee Curtis isn’t in this one, but it’s still a Halloween must-watch.

I hope you enjoyed the first five of my top ten Halloween movies. If you’re a fan of sequels that are better than the originals, I know you’ll subscribe and be here next week for the five best Halloween movies. I’m always looking to hear from you! What’s your prediction for the number one spot? Also, if you think 10-6 is terrible, let’s hear why!

For some time I have struggled to describe or review this film without spoiling one of the best cinema experiences of the year. A quick warning before you read this: Go see this movie knowing as little as possible about it! Now, if you’re still here, let's get into one of the best horror/thriller releases of the year.

I remember being in the theater about ten minutes into this movie, thinking, “I’m going to hate this.” But as it went on, I quickly discovered one of my favorite movies released in the last few years. Director JT Mollner’s second feature film immediately starts on a strange and slightly pretentious note with a screen announcing, “This film was shot on 35mm film.” While I think that’s great, the audience who wouldn’t recognize this obviously wouldn’t care, and the audience who cares doesn’t need to be told. My expectations sank as soon as I saw this, but luckily, by the end, all was forgiven.

A Texas Chainsaw Massacre-style screen crawl sets you up for the ride you’re about to take. Then you’re thrown into a story told in the classic '90s non-linear style of Pulp Fiction. I would love to fully dive into Willa Fitzgerald and Kyle Gallner’s excellent performances, but in the interest of keeping this spoiler-free, I will be very brief. The chemistry between the two leads is superb. In one erotic scene, I momentarily thought the AMC theater I was in had greenlit a snuff film to be shown. The back-and-forth between Willa and Kyle in this scene was spectacular and felt very authentic. The cinematography was great, and the movie was beautifully shot by Giovanni Ribisi, better known as the weird kidnapper guy from Ted. The pacing was excellent, and with a 1:37 runtime, it’s tight and respects your time.

I love when a lower-budget production manages to knock one out of the park. Strange Darling had me intrigued throughout and kept me guessing until the very end. I walked out of the theater wondering how soon I could buy a physical copy of the movie. Having had time to reflect on this film, I realize it won’t be everybody’s movie of the year, and many will be like me, 10 minutes in, throughout the film. As lovers of film, we should all be excited when a low-budget movie comes along and takes a huge swing. I hope to do a much deeper dive after more people have had the opportunity to see this.

Score: 8.5/10

First I want to thank you for checking out Joe is afraid! This is a place where we can celebrate horror movies and the culture surrounding it. Why did I start Joe Is Afraid? Well for some time I have noticed good horror cinema not getting the praise it so often deserves. Many critics are only looking for the next superhero movie and ignoring so much of the great cinema available to us. Some of the things I hope to accomplish here are; giving you excellent movie recommendations, giving an unbiased review of new movies and classics, and the most exciting part for me is getting recommendations from you. While I spend a lot of time in theaters and streaming I am also an avid fan of collecting physical media and am excited to share that passion with you as well. I’m excited to start this journey with you and hope I can provide you top tier content to satisfy your spooky itch.