Horror Actressing: Rosario Dawson in "Death Proof"

by Jason Adams

Every time I see Quentin Tarantino's bifurcated 2007 flick Death Proof I want to write about Death Proof, and every time I write about Death Proof I tell myself I'm going to write about something besides Rosario Dawson's performance in Death Proof... and every time I spectacularly fail at this mission. This "Great Moments in Horror Actressing" post you're now reading is further proof, dead proof, of just that. It's just there is that moment, that single moment seen above, where Tarantino's camera zooms in on Dawson's face as her worry melts into absolute exaltation, and it is by my humble estimate one of the greatest, most electric close-ups in cinematic history. Just that!

But we are, like so much of this movie, zooming right on ahead of ourselves. Just what is it about that moment that makes all the hairs on my arms stand on end?

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Horror Actressing: Glenda Farrell in "Mystery of the Wax Museum" (1933)

by Jason Adams

Once upon a time in a galaxy far far away we once went to The Movies. Otherwise known as The Picture Show, it turned out in 2020 there was indeed, as the prophet Peter Bogdanovich foretold, a Last one for us all. The subject of what was everyone's Last Big Picture before the COVID quarantine shut movie-going down has been a popular one -- personally I've kept that information close to the vest because mine (sigh) was the godawful horror twist on Fantasy Island, and let us never speak of that again. 

Let's instead focus on one of my best big-screen cinematic experiences of the so-far short-lived year in such things, which was MoMA's January screening of the drop-dead-stunning restoration of the Pre-Code two-color Technicolor fright-flick Mystery of the Wax Museum. Michael Curtiz's 1933 film, was lost for decades until a pair of prints miraculously appeared and got cobbled together beautifully. Mystery stars Fay Wray (just a few weeks before her romantic wrangle with that big monkey) playing the love-struck, shriek-prone Charlotte Duncan. But even better as far as I'm concerned there's Glenda Farrell, the subject of this here week's episode in our "Great Moments in Horror Actressing" series...

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Horror Actressing: Rita Macedo in "The Curse of the Crying Woman" (1963)

by Jason Adams

Happy Cinco de Mayo, everyone! For this week's edition of our "Great Moments in Horror Actressing" series we're tackling the five-century-old Mexican folk-tale of "La Llorona" aka "The Weeping Woman," who's become perhaps the most iconic of all their legends and whose terrifying presence has graced the screen at least a dozen times, up to and including last year's middling Blumhouse production (part of their ever expanding and worsening Conjuring Universe) titled The Curse of la Llorona. 

We will not be talking that most recent version though, because despite perfectly acceptable screaming from a slumming Linda Cardellini (an actress I very much like)...

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National Pet Week: "Sam" from I Am Legend

Team Experience is celebrating pets at the movies (and in our homes) this week. Here's Tony Ruggio...

With my third family dog growing up "Sydney"

I’ve always been a dog person. Some of my first memories are of rolling in the carpet at three years-old next to our first pekingese bruiser Gin Gin. His death at the hands of a roaming pack of stray dogs in our neighborhood was my first real brush with tragedy and emotional trauma. Two more family dogs would come and go over the next twenty-five years, each one’s passing more devastating than the last. 

It’s no surprise then that I would take to the tale of a man and his dog in 2007’s I Am Legend, or its inevitable conclusion. The movie itself is a flawed slice-of-apocalyptic-life blockbuster, a one-man show for Will Smith wherein he and German Shepherd Samantha roam a desolate New York City...  

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The New Classics: Living Deliciously in "The Witch"

Hey everyone. Michael Cusumano here, excited to be back for a second season of The New Classics (and not just because publishing one of these every Tuesday will help me tell the weeks apart!) Each which we annoint one the best of the 21st century by discussing a single scene. 

Scene: Living Deliciously
The ending of Robert Eggers’ The Witch certainly feels like a happy ending. How could it not, with that final thrilling image of a cackling Thomasin rising nude into the moonlight, embracing her place in Black Phillip’s coven? She has shed her fanatically repressed biological family like she shed her blood-splattered “shift” at Black Phillip’s whispered command, and now she’s off to see the world and taste butter by the churnful. Liberation!

But at what cost?

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