The films of Jennifer Reeder have an unmistakable vibe. Her acclaimed short films, including “All Small Bodies” and “Crystal Lake,” have been shown on The Criterion Channel, and her feature film “Knives and Skin” has been shown at Berlin and Tribeca. 

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Reeder’s films, which have been described as the meeting point between David Lynch and John Hughes, share little in terms of plot, but all bear an unmistakable eeriness, an otherworldliness that could only be Reeder.

Continue reading ‘Perpetrator’ Review: Jennifer Reeder’s Missing Girls Horror Is A Trip Dripping In Blood & Atmosphere [Berlin] at The Playlist.

It’s amusing to remember that back when the original “V/H/S” was released, some resisted or dismissed it because they were tired of found footage movies. Yet here we are, nine years later, and while the format certainly isn’t as ubiquitous as it was, this franchise has proven durable; “V/H/S/2” was, if anything, better than its predecessor. (We’ll politely skip “V/H/S/Viral” for now.) But the longevity of this Little Franchise That Could may have more to do with the nostalgia baked into its central technology than any trends in horror.  

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When “V/H/S/94” opens with the familiar ephemera of the analog video experience – the blue screen, the tracking lines, blocky “PLAY” text in the upper left corner – we lean in.

Continue reading ‘V/H/S/94’: A Nostalgic Horror Anthology That Mostly Clicks [Fantastic Fest Review] at The Playlist.

“Stupid slut. I hate you!” a jock yells, leaving his beguiling band geek lover by the side of the road.

The geek-slut-tease in question, Carolyn Harper, fires back, “I hate you, too! I hate you with all my heart right now!” She is still in full, feather-hatted regalia, and suddenly bleeding profusely from the forehead. The jock has stolen her glasses, which glow ominously like the C-shaped cut she scratched into his forehead mere moments ago.

Continue reading ‘Knives And Skin’: Jennifer Reeder’s Experimental Feminist Film Puts The “Fun” In Funereal [Review] at The Playlist.