artur.sumarokov

“Murder-Set-Pieces” in its variations encapsulates the spectrum of horror—from tame entertainment to boundary-pushing art.

For fans of exploitation cinema, *Blood Feast* is like an old record—scratched but still uniquely resonant.

Shock videos encapsulate the modern world’s paradoxical embrace of horror: a mirror to our psyches, philosophies, and societies.

“Baby Blood” is a visceral meditation on the horrors of enforced motherhood in a male-dominated world

“Trash Humpers” isn’t for everyone—it’s a endurance test, a mirror to our darker selves.

Hannah House* is a fascinating experiment in horror cinema, blending the aesthetics of 1910s silent films with the symbolic potency of snakes and the existential dread of Lovecraftian horror.

Alien 2: On Earth is not just a cheap knockoff but a curious hymn to human ingenuity.

The Rainmaker is more than just a legal thriller; it’s a deeply human story about the fight for justice in a world where money and power often dictate the rules.