Josh Williams 🎃
@bisexualhorrorfan.bsky.social
Bisexual. 🏳️🌈 Genderqueer. Trans Rights are Human Rights. BLM. ACAB. He/Them. I love da horror movies.
I think it buckles and rattles a bit for me, which is why I wanna see it again. But its power is undeniable, ESPECIALLY in Jacob Elordi as the Creature. It is fucking INSANE to me that he almost didn’t get this role; what an absolute buzzshock of a performance!
November 2, 2025 at 3:18 AM
I think it buckles and rattles a bit for me, which is why I wanna see it again. But its power is undeniable, ESPECIALLY in Jacob Elordi as the Creature. It is fucking INSANE to me that he almost didn’t get this role; what an absolute buzzshock of a performance!
Fuuuuck. Gotta see it a second time to get my proper bearings on it but I really adored this. Del Toro’s passion runs through it entirely; his affections clear in the gothic grotesquerie and punishing longing. Dan Lausten’s imagery is fucking exquisite.
November 2, 2025 at 3:18 AM
Fuuuuck. Gotta see it a second time to get my proper bearings on it but I really adored this. Del Toro’s passion runs through it entirely; his affections clear in the gothic grotesquerie and punishing longing. Dan Lausten’s imagery is fucking exquisite.
Now watching!
November 2, 2025 at 12:02 AM
Now watching!
Hope everyone had a Happy Halloween today! Hit the downtown district of Salem for the day; first time I’ve ever done so! Hard not to be in the mood with a crowd like this!
November 1, 2025 at 4:24 AM
Hope everyone had a Happy Halloween today! Hit the downtown district of Salem for the day; first time I’ve ever done so! Hard not to be in the mood with a crowd like this!
They’re Creeping Up On You really climbed up my ranking this time around. Really adore how bleached and antiseptic it is; which makes the way Romero gleefully suffocates the framing with roach swarms has you feeling as cornered as EG Marshall and the blast of comic visuals as more of a buzzshock.
October 31, 2025 at 3:12 AM
They’re Creeping Up On You really climbed up my ranking this time around. Really adore how bleached and antiseptic it is; which makes the way Romero gleefully suffocates the framing with roach swarms has you feeling as cornered as EG Marshall and the blast of comic visuals as more of a buzzshock.
Love the Poe tragedy/Fulci zombie of Father’s Day & gleefully bleak antics of Jody Verrill. But the total double whammy of The Crate/Something To Tide You Over are still the height of the film; Savini’s creature FX and Nielson/Barbeau are absolutely triumphant.
October 31, 2025 at 3:12 AM
Love the Poe tragedy/Fulci zombie of Father’s Day & gleefully bleak antics of Jody Verrill. But the total double whammy of The Crate/Something To Tide You Over are still the height of the film; Savini’s creature FX and Nielson/Barbeau are absolutely triumphant.
Three kings of horror at the top of their games succinctly capture pure distilled EC Comics ethos; all grisly ghouls and mean-spirited retribution and perverse catharsis captured in vivid, candy-colored comic book flair. An absolute achievement on every technical level.
October 31, 2025 at 3:12 AM
Three kings of horror at the top of their games succinctly capture pure distilled EC Comics ethos; all grisly ghouls and mean-spirited retribution and perverse catharsis captured in vivid, candy-colored comic book flair. An absolute achievement on every technical level.
Happy All Hallow’s Eve 🎃
October 31, 2025 at 1:02 AM
Happy All Hallow’s Eve 🎃
An apocalypse lit up on matinees and delivered in paperbacks, unfolded via widescreen compositions revealing metafiction terror lurking within the periphery. Mass-marketed hysteria erases time and space forever as Carpenter laughs at it all.
October 31, 2025 at 12:40 AM
An apocalypse lit up on matinees and delivered in paperbacks, unfolded via widescreen compositions revealing metafiction terror lurking within the periphery. Mass-marketed hysteria erases time and space forever as Carpenter laughs at it all.
Total condemnation of commercial art and genre conventions; it’s King/Lovecraft pisstakes as biting as the perversion of religious iconography. A byzantine church heralds the end of the world while mass media hunger swallows it whole.
October 31, 2025 at 12:40 AM
Total condemnation of commercial art and genre conventions; it’s King/Lovecraft pisstakes as biting as the perversion of religious iconography. A byzantine church heralds the end of the world while mass media hunger swallows it whole.
Oblivion is found through print and text. Faith shattered by pulp cosmic contradictory, reality lost to Italian horror imagery; all being ushered in by hack horror novelists & a knowing wink from Carpenter as he reaches the apex of his career.
October 31, 2025 at 12:40 AM
Oblivion is found through print and text. Faith shattered by pulp cosmic contradictory, reality lost to Italian horror imagery; all being ushered in by hack horror novelists & a knowing wink from Carpenter as he reaches the apex of his career.
Those teeth look pretty unhealthy. Perhaps you need a doctor…
October 30, 2025 at 2:39 PM
Those teeth look pretty unhealthy. Perhaps you need a doctor…
Nightmare imagery purveyed via men consumed by beetles, blasphemous grotesquerie, buzzing maggots in the filth + black mass hordes gathering for the apocalyptic congregations all thrumming among sinister synth and the scattered atoms. Carpenter’s scariest movie by a goddamn mile.
October 30, 2025 at 1:34 PM
Nightmare imagery purveyed via men consumed by beetles, blasphemous grotesquerie, buzzing maggots in the filth + black mass hordes gathering for the apocalyptic congregations all thrumming among sinister synth and the scattered atoms. Carpenter’s scariest movie by a goddamn mile.
Anamorphic suffocating in doom and decay; edges choked with siege logic, atmosphere dreamy and cataclysmic, the world actively rotting of Anti-God particles and abstract evil. The end is nigh, disseminated into theological equations; foretold by shadows lost to beamed transmissions.
October 30, 2025 at 1:34 PM
Anamorphic suffocating in doom and decay; edges choked with siege logic, atmosphere dreamy and cataclysmic, the world actively rotting of Anti-God particles and abstract evil. The end is nigh, disseminated into theological equations; foretold by shadows lost to beamed transmissions.
Carpenter goes Fulci through an ode to Quartermass. Cosmic death found in unicode. God and the Devil viewed through quantum physics, anciently rooted in the supernovas and solar systems. A triumphant merger of his usual affections for gross revelation and offscreen menace.
October 30, 2025 at 1:34 PM
Carpenter goes Fulci through an ode to Quartermass. Cosmic death found in unicode. God and the Devil viewed through quantum physics, anciently rooted in the supernovas and solar systems. A triumphant merger of his usual affections for gross revelation and offscreen menace.
Fuuuck, guess tonight really is a double feature of these two.
October 30, 2025 at 1:28 AM
Fuuuck, guess tonight really is a double feature of these two.
Hopkins is a tight nerve shivering beneath the spotlight and his own internalised emotional register. Fats is so startlingly realized; the horrific articulation and vulgar rage of him. The “five minutes” sequence leaves such a pit deep in my stomach every goddamn time.
October 29, 2025 at 7:13 PM
Hopkins is a tight nerve shivering beneath the spotlight and his own internalised emotional register. Fats is so startlingly realized; the horrific articulation and vulgar rage of him. The “five minutes” sequence leaves such a pit deep in my stomach every goddamn time.
Kemper’s chilly autumnal palette/brooding grey rainfall suits the bleak, lonely atmosphere like a glove while its focus on struggling stardom and converging personalities is sturdily visualised through tense, sweaty profile shots.
October 29, 2025 at 7:13 PM
Kemper’s chilly autumnal palette/brooding grey rainfall suits the bleak, lonely atmosphere like a glove while its focus on struggling stardom and converging personalities is sturdily visualised through tense, sweaty profile shots.
Insane that Attenborough directed something this blunt and sobering. Far more patient and psychological than most would assume; humming with anxious longing but bristling in schizoid anguish. Plays its hand well and economically, its bleak tone found in the waning gloaming of it all.
October 29, 2025 at 7:13 PM
Insane that Attenborough directed something this blunt and sobering. Far more patient and psychological than most would assume; humming with anxious longing but bristling in schizoid anguish. Plays its hand well and economically, its bleak tone found in the waning gloaming of it all.
Now watching.
October 29, 2025 at 12:07 AM
Now watching.
Scrimm flexes his gothic chops and delicious devilish scripture while studio budget gives way to bespoke set-pieces and bombastic style; you can practically feel Coscarelli kicking his feet behind the camera during the last hour. That quad-barrelled shotgun is still total dopamine.
October 28, 2025 at 2:51 AM
Scrimm flexes his gothic chops and delicious devilish scripture while studio budget gives way to bespoke set-pieces and bombastic style; you can practically feel Coscarelli kicking his feet behind the camera during the last hour. That quad-barrelled shotgun is still total dopamine.
More conventional, more slicker, but Coscarelli still retains his adolescent fantasia in the spirit of it all. Only this time it’s funnelled into gun splatter, chainsaw swordfights, bucketloads of goop/slime, and pulpy practical SFX-heavy gore.
October 28, 2025 at 2:51 AM
More conventional, more slicker, but Coscarelli still retains his adolescent fantasia in the spirit of it all. Only this time it’s funnelled into gun splatter, chainsaw swordfights, bucketloads of goop/slime, and pulpy practical SFX-heavy gore.
PHANTASM II sheds the original’s mournful tone and artful ambiguity for amped-up action and sprawling excess. The quiet whisper of the first film turned explosive, lonely suburbs traded for cross-country apocalypse where familial death and abstract fate still thrums in the gut.
October 28, 2025 at 2:51 AM
PHANTASM II sheds the original’s mournful tone and artful ambiguity for amped-up action and sprawling excess. The quiet whisper of the first film turned explosive, lonely suburbs traded for cross-country apocalypse where familial death and abstract fate still thrums in the gut.
Stan Winston’s renditions of the icons are gorgeous to behold, maybe the best any of them have ever looked, while led by a stunning Duncan Regehr as Dracula; Lee’s bestial fury inhabiting Lugosi’s silhouette with snarling relish & ice-cold domination.
October 27, 2025 at 8:34 PM
Stan Winston’s renditions of the icons are gorgeous to behold, maybe the best any of them have ever looked, while led by a stunning Duncan Regehr as Dracula; Lee’s bestial fury inhabiting Lugosi’s silhouette with snarling relish & ice-cold domination.
The Stephen King/Goonies optics of it fluctuate between legit endearing and weirdly mean while the monster mash mayhem/foggy gothic artifice always prevails. Suburban monster kid fantasies carved from popcorn/soda crowds and drive-in matinee memories.
October 27, 2025 at 8:34 PM
The Stephen King/Goonies optics of it fluctuate between legit endearing and weirdly mean while the monster mash mayhem/foggy gothic artifice always prevails. Suburban monster kid fantasies carved from popcorn/soda crowds and drive-in matinee memories.