horror

A lot of commentary on the indie horror film has framed it as a meditation on Gen Z’s fear of commitment. But it has far more interesting things to say about coercion and freedom.

Stephen Graham Jones’s theologically inflected horror novel just might be his masterpiece.

Robert Eggers’s film reminds us that much of what presents itself as common sense is just a contingent arrangement, one form of folklore instead of another.

When I watch a mother slay a monster and hustle her kids to safety, it never fails to satisfy.

Around the world, filmmakers have used a horror framework to explore the fears and nightmares of their societies.

Religion and horror often ask us to reflect on the same set of questions.

Jordan Peele’s new horror film reveals the pasts we are all tethered to.

Few Americans may believe in witches—or in a Puritan God. Yet The Witch explores human impulses that are still with us.

Wes Craven says there are two types of horror stories: either the monster is out there, or the monster is us. Jennifer Kent's film has the moral imagination to tell both simultaneously.

Is exaggerated violence in Passion plays merely a product of our baser
natures? Or does the savagery actually have a proper place in the
crucifixion's meaning?