#black comedy horror

[mr-dead-inside]

🩸Innocent Blood (1992)🩸

[gbhbl]

Horror Movie Review: The Menu (2022)

A young couple who visits an exclusive destination restaurant on a remote island where the acclaimed chef has prepared a lavish tasting menu, along with some shocking surprises.

 The Menu is a 2022 American black comedy horror film directed by Mark Mylod, written by Seth Reiss and Will Tracy, based on an original story created by Tracy. Foodie Tyler Ledford and his date, Margot Mills, travel by boat to Hawthorn. Hawthorn is an exclusive restaurant owned and operated by celebrity chef Julian Slowik, located on a private island. The other guests attending the dinner are…

[weirdlookindog]

Spider Baby (1967)

Jill Banner as Virginia

[halflifebutawesome]

redraw i didn’t finish in time for Halloween… SIGHS.. you can have it now tho 🧡

[the-watcher-in-the-sky]

[atomic-chronoscaph]

The Monster Squad (1987)

[sunlit-mess]

MURDER DRONES SPOTTED

IM GIGGLING AHAHAHAAH

[mistressofthemacabresworld]

[k-i-l-l-e-r-b-e-e-6-9]

Frankenhooker (1990) directed by Frank Henenlotter.  (Behind the Scenes)

[crapload-of-crafts]

‘The Guy Who Didn’t Like Musicals’ Poster (Version 3)

[blackpilledkremlintsarina5294]

The Devil's Rejects (2005) director: Rob Zombie

[booigi-boi]

Dracula and Black Phillip 🖤🦇🐐

I am very normal about them, coolest Shipwrecked characters 🐐

[weirdlookindog]

Patty Mullen in Frankenhooker (1990)

[ilovemesomevincentprice]

Vincent Price and Peter Lorre gif compilation 🖤

[the-watcher-in-the-sky]

[bitter69uk]

Hagsploitation truly is the horror sub-genre that keeps on giving. Sparked by the unexpected success of 1962’s What Ever Happened to Baby Jane? in the 1960s and 70s, maturing female stars of golden age Hollywood extended their careers by swallowing their pride, embracing their inner scream queen and plunging into exploitation shockers: think of Joan Crawford, Bette Davis, Tallulah Bankhead, Olivia de Havilland, Agnes Moorehead and Shelley Winters starring in the likes of Strait-Jacket, Hush … Hush … Sweet Charlotte, Berserk, Lady in a Cage, Die Die My Darling, Dear Dead Delilah and especially the “question movies” Whoever Slew Auntie Roo?, What’s the Matter with Helen? and What Ever Happened to Aunt Alice? Roaring back from career doldrums (I last remember her playing Miley Cyrus’ mother), 61-year-old Demi Moore finds herself in a similar position in director Coralie Fargeat’s grisly and stylish satire The Substance. In a gutsy, exposed (in every sense) performance, Moore plays Elisabeth Sparkle, a middle-aged television celebrity abruptly fired by ageist and sexist network executive Dennis Quaid (really chomping the scenery). Despondent, Elisabeth takes desperate measures to rejuvenate her “best self” with a mysterious unregulated black market scientific procedure called The Substance … and things swiftly unravel. Characterized by stunning art direction and a visceral sound design that emphasizes every repulsive squelching noise, The Substance ratchets up maximum dread and offers a goldmine of knowing movie references: Basket Case. Carrie. Death Becomes Her. Every single David Cronenberg “body horror” flick but particularly The Fly. Thematically, it reminded me of two specific b-movies from the late 1950s: The Wasp Woman and The Leech Woman, in which the anti-heroine experiments with science (or voodoo) to restore youth and beauty with monstrous consequences (and – it must be noted - these films make their point with a fraction of The Substance’s budget and two hour-and 40-minute running time). The Substance is bound to be divisive. There was multiple “walk outs” when I saw it. And has Fargeat lost control of the material by the ultra-gory splatter fest finale? However you cut it, it’s a wild ride and destined for cult status.