Forget the Bahamas, horror fans. New York is your paradise this summer.
That’s because the three highbrow movie presenters in the city offer an ambitious and adventurous horror movie series with enough horror for everyone, from squeaky beginners to avid enthusiasts.
The big one “Horror: Huge Message” It will be held at the Museum of Modern Art in New York for a whopping 10 weeks. With over 110 features and short films, this series delves into socio-political horror films with sections focused on gender, race, sexuality, and other concerns.
Other programs are enterprising as well. Lincoln Center for the Movie is affiliated with the acclaimed Italian film studio Cinecitta. “Watch out for Dario Argento.” A retrospective of 20 films by Argent, the most well-known horror film master in “Suspiria.” The director himself will participate in the screenings carefully selected.
And sponsored by the Video Museum “Movie of the Dead: Romero & Company” A series of 11 films dedicated to zombie films by heretic horror filmmaker George A. Romero, who died in 2017. “Living with The Walking Dead” (June 25-January 1, 2023), an exhibition about the origin and influence of the AMC series. The second movie program, “White Zombie: The Nightmare of the Empire,” continues in August.
Caryn Coleman, guest curator of the MoMA series, said it’s no wonder that all three organizations are looking to fear to “process the world.”
“We’re certainly in a collective moment of turmoil, so it seems like our goal is for New York to host horror programming as a tool for both discussion and celebration,” she wrote in an email.
Here’s a horror enthusiast’s guide on what to look for to make your decisions less scary.
“Horror: Monster Message” (June 23-September 5)
Museum of Modern Art, moma.org
Guilty Joy: “Sleeping Party Massacre” (1982)
What if a female director (Amy Holden Jones) and a feminist writer (Rita Mae Brown) work together to make a movie about a crazy murderer with a power drill that kills a high school student on an oversleeping night? You get this crazy classic from the Golden Age of Slasher, Continue to inspire A new generation of female horror filmmakers.
Must-see: “Last house on the left” (1972)
Wes Craven wrote and directed this rape and revenge film about two young women being abused by psychopaths. This is a must-see movie only for those who have a strong constitution and a morbid curiosity about game-changing but awkward exploitation movies. Think about this. Howard Thompson, in a Times review, called it an “unpleasant stomach” and said he went out before the movie was over.
search: “Jack Bee Nimble” (1993)
A great rediscovery of the series is this horror fantasy movie from New Zealand. Directors Alexis Arquette and Sarah Smat Kennedy, directed by Garth Maxwell, will star as twins who will reunite as adults after being separated and raised in a broken house. In a Times review, Stephen Holden calls it an “excellent” genre of film with “hallucinating power and psychological sophistication.”
Atavism: “Definition by temptation” (1990)
Writer / director James Bond III starred as a young man visiting New York to meet his friend (Kadeem Hardison), but instead falls under the succubus (Cynthia Bond) spell. Supernatural investigators (Bill Nunn), media (Melba Moore), and preachers (Samuel L. Jackson) are all trying to keep evil away. For low-budget horror comedies, this movie looks surprisingly frankly at Black Gen Xers and presents issues of friendship, gender, and faith.
“Watch out for Dario Argento” (June 17-29)
Lincoln Center Cinema, filmlinc.org
Must-see: “phenomenon” (1985)
Argent’s wacky psychological thriller starred Jennifer Connelly as a young student at a Swiss girls’ school, discovering that she has a supernatural power to control insects. Donald Pleasence is a scientist who uses her power to help find the murderer. The big screen is the best way to experience the movie’s epic body melting bug attack.
Vegetter: “The Bird with the Crystal Pleasure” (1970)
Argent’s directorial debut, which also wrote the script, is a stylish prototype of Giallo, Italy. Set in Rome, an American writer thriller was involved in a murder mystery after witnessing a woman bitten by an intruder in a gallery. The gusset is calm compared to the later movies of Argent. However, Giallo’s visual features — swooping razors, menacing lighting, and chic leather killer — are plentiful.
New kids on the block: ‘Black glasses’ (2022)
One of the movies I’m excited to see is Argent’s latest. His first The movie because “Argent’s Dracula 3D” had a bad reputation. Ilenia Pastorelli starred as a prostitute who struggles to adapt to her new life after being blinded during her escape from the murderer. Faithful to Argent’s shape, the movie looks as smooth as confusing.
“Movie of the Dead” (June 25-July 30)
Moving Image Museum, Movingimage.us
Must-see: ‘Zombie night’ (1968)
When Romero’s black and white groundbreaking characters appear on the big screen, go. Romero defends oppressed people, and in his first feature film, black actor Duane as a man protecting a group of strangers trapped in a rural farmhouse in Pennsylvania surrounded by meat-biting undead. Cast Jones. When it comes to movies that watch horror through the lens of social justice, especially racism in the United States, I succumb to this.
Bati Comedy: “No more cameras!” (2017)
Shinichiro Ueda’s movie is a ridiculous and brutal horror comedy about the film crew filming a zombie movie interrupted by a real hungry zombie. Instead of cutting and running, the director forces the cast and crew to keep rolling. What happens next is a slapstick comedy, a butcher, and, surprisingly, a meta-wonder of the mind.
Guilty Joy: “Day of the Dead” (1985)
I have a soft spot in this talkative doomsday story written and directed by Romero. Literally underground scientists and soldiers (with a fragile ego) fighting zombies left on the ground after the apocalypse, set in the future America of Dystopia, one of Romero’s favorite places to visit. About the group of. Tom Savini’s horrifying special effects gave me the Heavenly Geeby of the day, and it’s still the case.
