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It’s hard for me to even admit that Dario Argento’s Opera had been a major blind spot of mine for far too long, but I’m thankful for the recent Blu-ray release of the film, courtesy of both Scorpion Releasing and Doppelganger Releasing, as it made this cinematic discovery feel like a true work of art befitting of the Horror Maestro’s stunning and wholly unique vision, confidently displaying this slice of giallo madness from 1987. And as you can probably tell, after just one viewing, I’m 110 percent a fan of Opera now and still cannot believe it took me this long to see this wildly weird masterpiece.

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For nearly 40 years now, Larry Fessenden has been a cornerstone of the independent horror scene. He’s directed over 20 projects, produced around 70 shorts and features, and has even performed in almost 100 cinematic endeavors. One of the more recent films that Fessenden has been involved with is Robert Mockler’s Like Me, in which he co-stars alongside Addison Timlin and also serves as a producer.

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Today, writer/director Derek Nguyen’s gothic romance The Housemaid arrives in select theaters and on various digital and VOD platforms courtesy of IFC Midnight. Starring Kate Nhung in the titular role, the story follows a young woman named Linh in 1953 who is hired to work at rubber plantation in service to French landowner Sebastien (Jean-Michel Richaud), but finds that her new place of employment harbors many dark secrets. As a forbidden romance blossoms between Linh and her employer, the evil forces lurking on the property become more dangerous than ever.

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This Friday, the psychological thriller Looking Glass arrives in select theaters and on various digital platforms courtesy of Momentum Pictures. Directed by Tim Hunter (the director of River’s Edge and episodes of various genre TV shows like Scream: The TV Series, Hannibal, Gotham, American Horror Story, and more), and co-starring Nicolas Cage and Robin Tunney, Looking Glass follows a married couple trying to rebuild their lives after a tragic accident claims their young daughter. They purchase a remote roadside motel, but get more than they bargained for once they realize there’s much more to their new property than meets the eye.

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Arriving on DVD tomorrow is the remake of Inside from director Miguel Ángel Vivas and co-writers Jaume Balagueró and Manu Díez. Based on the original 2007 film by Alexandre Bustillo and Julien Maury, this iteration of Inside follows a bereaved expectant mother named Sarah (Rachel Nichols) who is being tormented by an unknown woman (Laura Harring) who will stop at nothing to get her hands on Sarah’s unborn child.

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The latest from provocative filmmaker Simon Rumley, the obsession-fueled thriller Fashionista arrives today on VOD via Freestyle Digital Media. This writer was a big fan of the film after checking it out during last year’s Fantasia Film Festival, so I jumped at the chance to speak with the film’s star Amanda Fuller about her incredibly complex performance in her latest collaboration with Rumley (the duo previously had teamed together on Red, White & Blue).

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Vertical Entertainment is set to release co-writer/director Brandon Christensen’s Still/Born in theaters and on VOD tomorrow, and in anticipation of the supernatural thriller, Daily Dead caught up with Christensen to chat about his feature directorial debut and what inspired the script that he co-penned with Colin Minihan (Extraterrestrial, It Stains the Sands Red). Christensen also discussed the challenges he faced while making Still/Born and his experiences collaborating with the film’s co-stars Christie Burke and genre favorite Jesse Moss.

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Exclusively arriving on Netflix this Friday is The Ritual from filmmaker David Bruckner, who has directed a variety of great genre projects over the last 10 years, including The Signal (which you’ll definitely hear more on later this month for its upcoming anniversary), V/H/S, and Southbound. For his latest movie, Ritual, Bruckner has adapted Adam Nevill’s novel of the same name. The film follows a group of friends (led by Rafe Spall, Hot Fuzz, Prometheus, Life of Pi) as they take a hiking vacation in honor of their friend who recently died, but their trip takes a sinister turn once they realize they’re being stalked by an unseen malevolent force that will stop at nothing to ensure they suffer greatly.

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While attending the 2018 Sundance Film Festival, Daily Dead had the opportunity to catch up on a trio of comedies that ran the gamut of humor: Augustine Frizzell’s Never Goin’ Back, Sebastián Hofmann's Time Share, and Jonathan Watson’s Arizona, which is centered around the 2008/2009 housing crisis.

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Easily the most polarizing of the Midnighters that played as part of the 2018 Sundance Film Festival, writer/director Sam Levinson’s Assassination Nation perfectly encapsulates the crossroads we’re currently at as a society.

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During the 2018 Sundance Film Festival, Daily Dead had the opportunity to speak to co-writer/director Sebastián Hofmann and co-writer/producer Julio Chavezmontes about their recent collaboration on the dark comedy Time Share. The film stars Luis Gerardo Méndez, a well-meaning husband who takes his wife and son on a family vacation at a swanky resort, only to find out that his villa has been double-booked, and he’s forced to spend his relaxation time dealing with a myriad of stresses that pushes his sanity, and his marriage, to the brink.

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Let me start off this review by saying that in no way do I consider myself any kind of expert on black metal. In fact, most of my knowledge of metal music begins and ends with the artists who made a name for themselves here in the states. So, while I can’t really judge Lords of Chaos on its accuracy and authenticity in terms of the black metal movement of the 1980s and ’90s, what I can say is that in terms of creating an explosively unforgettable narrative brimming with a sense of bedlam and anarchy, director Jonas Åkerlund has done a helluva job with Lords of Chaos, which feels a bit more like a horror movie about the destructive patterns of youth than it does a straight-up biopic (and that works for me—for others, results may vary).

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Evil has taken root in the residence of the Graham family in Hereditary, the stunning feature film directorial debut from Ari Aster that’s one-half supernatural spook show, one-half psychological horror, one hundred percent an exercise in nerve-shredding terror. Anchored by incredible performances from Toni Collette (who is working on a level here that is simply beyond any of us mere mortals), Alex Wolff, Gabriel Byrne, and Milly Shapiro, Hereditary is an intimately crafted domestic nightmare in which family ties are wound so tightly, the results are a violently unexpected descent into literal madness and blood-soaked mayhem.

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Like most genre fans, I fell head over heels for Turbo Kid, the first feature from the filmmaking trio RKSS (François Simard, Anouk Whissell, and Yoann-Karl Whissell) that transported viewers to a post-apocalyptic future where BMX bikes and friendship rule over the savageness of the brand new world. For their follow-up feature, RKSS heads back to the Reagan Era for their genre-defying Summer of ’84, a murder mystery/slasher/coming-of-age comedy hybrid that confidently explores the triumphs and tribulations of being a teenager, all while delivering a horrifying tale that conjures up some really fun scares along the way.

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This past Tuesday night, Jonas Åkerlund’s Lords of Chaos closed out the Midnighter premieres at the 2018 Sundance Film Festival. Starring Rory Culkin, Emory Cohen, Jack Kilmer, Sky Ferreira, Valter Skarsgård, and Sam Coleman, Akerlund’s Lords recounts (in its own way) the start of the Norwegian Black Metal movement in the late 1980s, which was pioneered by Euronymous (Culkin), the founder of the band Mayhem, and how jealousy and egos corrupted the scene once an eager fan-turned-bandmate Varg (Cohen) takes Euronymous’ ideologies as a battle cry, culminating in an unforgettable showdown between the two musicians.

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