THE REFLECTING SKIN, BABY BLOOD, & SINGAPORE SLING: Forgotten Horror Gems of 1990

THE REFLECTING SKIN (1990) d. Philip Ridley (UK)
BABY BLOOD (1990) d. Alain Robak (France)
SINGAPORE SLING (1990) d. Nikos Nikolaidis (Greece)

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After the excesses of the 1980s, the horror genre struggled to redefine itself, leaving the door open for a handful of international auteurs to collectively veer off the well-lit path, and plunge into something stranger, darker, and defiantly uncommercial. The year was 1990, and the filmmakers in question were less interested in cheap thrills and more committed to unsettling viewers on a deeper, more lingering level. Tonight, we’re celebrating the 35th anniversary of three such releases, Baby Blood, The Reflecting Skin, and Singapore Sling, movies that remain essential viewing for the modern horror fan who craves something bold, transgressive, and artfully off-kilter.

 

CRIMES OF THE FUTURE (2022) Round Table Movie Review

CRIMES OF THE FUTURE (2022) d. David Cronenberg

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Join AC and his awesome panel of guests (Aaron AuBuchon, Christianne Benedict, Mackenzie Parker, Dominic Conti) as they discuss the legendary David Cronenberg's first return to his sci-fi/horror roots since 1999's Existenz. The Master hasn't lost his touch for the bizarre and the beautiful.

PSYCHO (1998) Blu-ray review

Psycho (1998) d. Gus Van Sant (USA) (104 min)

Having embezzled a large sum of money from the bank where she works, Marion Crane (Anne Heche) takes refuge at a motel operated by Norman Bates (Vince Vaughn), a troubled man whose victims encounter a grisly fate at the hands of his mother. Marion’s disappearance prompts inquiries from her sister (Julianne Moore) and a private investigator (William H. Macy), who both discover the terrifying truth kept hidden within the Bates Motel.

THE REFLECTING SKIN (1990) movie review

Reflecting Skin, The (1990) d. Ridley, Philip (UK)

A cerebral, challenging film that examines the bleak and beautiful nightmare of childhood. Award-winning playwright/author/painter Philip Ridley envisions the American Midwest of the '50s as a wasteland devoid of moral compasses and populated by bizarre characters. Here, the monsters are everywhere but where we look for them, the beauty of the landscape masking the darkness that lurks beneath.