Double Trouble
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A Woman’s Fury: ‘Strange Darling’ & ‘Last Night in Soho’ [Double Trouble]
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Survival Instincts: The Heart-Pounding Adventures of ‘Sweetheart’ & ‘Crawl’ [Double Trouble]
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Is Any of This Real? The Unreliable Narrator in ‘Braid’ & ‘mother!’
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Living Through Pandemic Times: Fear and Paranoia in ‘The Bay’ & ‘Quarantine’ [Double Trouble]
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‘Black Christmas’ & ‘Silent Night, Bloody Night’ Make for the Perfect Creepy Christmas Double Feature
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‘Blood Rage’ & ‘Blood Feast’ Make a Tasty Turkey Treat [Double Trouble]
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This Is Halloween: The Gateway Horrors of ‘Cobweb’ and ‘The Curse of Bridge Hollow’ [Double Trouble]
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The Dangers of Religious Fanaticism in ‘Häxan’ & ‘Witchhammer’ [Double Trouble]
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The Death of Summer: ‘Tourist Trap’ & ‘House of Wax’ Make for a Perfect Double Feature
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An Open Wound: Tortured Queer Relationships in ‘Rift’ & ‘What Keeps You Alive’
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Denial of Death: ‘The Others’ & ‘Carnival of Souls’ Make for a Haunting Double Feature
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How ‘The Outwaters’ & ‘Horror in the High Desert’ Prove Found Footage Is Alive and Well
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The Queer Experience in ‘So Vam’ & ‘Children of Sin’ [Double Trouble]
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‘Season of the Witch’ & ‘All the Colors of the Dark’ – A Witchy Double Feature for Spooky Season
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‘The Black Phone’, ‘Summer of 84’ and a Deep Fear of Abduction [Double Trouble]
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Strong Female Leads Start Killing in ‘I Blame Society’ and ‘Tragedy Girls’ [Double Trouble]
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The Endless Quest for Online Validation in ‘Spree’ & ‘Superhost’ [Double Trouble]
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Existential Dread in ‘A Ghost Story’ and ‘The Night House’ [Double Trouble]