Josh Williams πŸŽƒ
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bisexualhorrorfan.bsky.social
Josh Williams πŸŽƒ
@bisexualhorrorfan.bsky.social
390 followers 140 following 530 posts
Bisexual. πŸ³οΈβ€πŸŒˆ Genderqueer. Trans Rights are Human Rights. BLM. ACAB. He/Them. I love da horror movies.
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It’s proud of its shlock and awe to the very last breath where it fully sheds the Argento/Hooper of it all; blossoming into Hennenlotter gristle and Shaw Brothers visceral breathlessness. Wasn’t surprised to see Takashi Ishii screenwriter credit at the end.
Whole thing is shot like a blasted-out nightmare, dripping with industrial sweat + grime, its absolute excess found in Savini ultraviolence and hazy Fulci nightmarescapes. The midnight world of CCTV is a labyrinth just waiting to swallow you whole.
EVIL DEAD TRAP is fucking NASTY. Extreme cinema transmutation of contemporary 80’s horror flairs - the sleaze of slasher schlock, the neon-splatter of Giallos, the existential cruelty of J-Horror - all of which are funneled via snuff video static and gruesome textures.
Reposted by Josh Williams πŸŽƒ
Reposted by Josh Williams πŸŽƒ
Lash doodles βœοΈπŸ·πŸ§›πŸ»β€β™€οΈπŸ’œπŸ¦‡
Reposted by Josh Williams πŸŽƒ
Reposted by Josh Williams πŸŽƒ
Gorgeously composed in its vivid technicolor and sleek widescreen is something desperate in hope but cruel in retaliation. Any derision in regards to the effects are null; they remain impactful and nasty in their overall culmination. Might one of the cruelest sci fi flicks ever.
So much more gruesome and bleak than its reputation compared to the (fantastic) Cronenberg remake makes it out to be; less monster amuck, far more stately piece of sci-fi cautionary tale regarding grotesque tragedy and man consumed by technological hubris.
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Argento’s last gasp of Giallo goes out with a hiss; symphonic evil with his lens at its most wicked and hateful. A vicious crossover of his two worlds in formal bravado and gruesome stylization, their echoes channeled through red splashes, shattered glass, and crumbling stone.
Reposted by Josh Williams πŸŽƒ
Suspiria/Inferno’s heightened surrealities bristle beneath its gothic extremes and ferocious sound design while its visual language dwells in a realm still dominated by leather-black gloves + flashing steel. Gorgeously staged and crafted to the very bone.
Reposted by Josh Williams πŸŽƒ
Clockwork dolls and children’s lullabies and lurid synergy lost in an emerging dream logic rendered cavernous by Dario’s slick location shooting. It’s set pieces flit from nightmare ferocity to screeching dissonance; their gleeful deliverance bursting through the edit.
Reposted by Josh Williams πŸŽƒ
At 2:17 am last night, Rob Schneider went out his front door, ran into the dark, and he never came back...
I love that this reads like they disappeared with him
Reposted by Josh Williams πŸŽƒ
riding my vacuous yet reliable beast
Reposted by Josh Williams πŸŽƒ
the reason you can't say "sexual assault" or "rape" on so many major platforms is because the christofascists demanding this censorship from tech companies want to keep wielding sexual violence in the dark as a tool of power
the forced self-censorship gibberish we all have to do on social media now is having a devastating effect on the way people communicate with each other. nobody in a healthy society is saying "unalived"
Do you have any extremely niche, but serious, ethical stances?
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Carving up some weekend fun🀘πŸ”ͺπŸ’₯πŸŽƒπŸ–€πŸ§‘
Reposted by Josh Williams πŸŽƒ
Angus Scrimm’s Tall Man looms over its bizarre sci-fi lore and adolescent struggles like a specter; his voice harsh like a crypt slammed shut, his presence that of whistling leaves and screeching steel. Coming of age story where adulthood is a lonley, abstract reality waiting.
Coscarelli synergizes Carpenters liminal space with Fulci’s vivid filth in a cozy, whispering mortality tale anchored by dreamlike editing and nightmare illogicalities. Adolescent fantasy used as a shield against the grim inevitable truth of growing pains and death.
PHANTASM still fucking rules. A waxing lyrical dream of sex & death struck between the lingering period of the last summer haze and childhood autumn. Dune filtered through Italo-horror, liminal suburbia, and child wish fulfillment in sleek chrome.
I think Moore’s Margaret White was the only thing I took away from that movie.
Reposted by Josh Williams πŸŽƒ
dinosaur village rv mobile home park, dinosaur statue, route 40, jensen, utah, 1991