Sublime Horror

Celebrating the best in horror

Eight understated horror gems you can watch on UK streaming services right now

There’s no shortage of horror to be found on film and TV streaming services, particularly the likes of Shudder, which specialises in the genre. But much of what’s on offer leans towards the lurid, gory type. The nine films I’ve selected below, on the other hand, typify the quieter, more understated – perhaps more literary – side of the genre. If you’re looking for something new to watch on those quiet lockdown nights, perhaps one of these will fit the bill…

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Overlook Abbey: Whispers of the Female Gothic in Stephen King’s The Shining

Stephen King’s The Shining is a modern gothic masterpiece, containing many of the core aspects which constitute gothic literature’s skeleton. The Overlook hotel is the monolithic, ruined castle riddled with malicious spirits; Jack Torrance succumbs to madness, ultimately becoming a doppelgänger of himself; monstrosity overtakes the mundane, particularly to Danny Torrance; Jack holds a quasi-religious reverence for historical items and locations, and also feels a sense of fallen society. While these attributes have been discussed at length, there is less discussion about its Female Gothic qualities.

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If It Bleeds by Stephen King review – a return to vintage King?

If It Bleeds is Stephen King’s most recent collection of the macabre, released earlier than originally planned this year in response to the desire to escape into new Stephen King fiction felt by many Constant Readers practising social distancing. Each of the four novellas within this collection – including “Mr. Harrigan’s Phone”, “The Life of Chuck“, the titular “If It Bleeds”, and “Rat” – feel like a return to vintage King, though each accomplishes this feat through very different means.

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Velocities: Stories by Kathe Koja review – weird from the inside out

Kathe Koja has been writing in multiple genres since the publication of her first novel, The Cipher, in 1991, but a consistent thread within her work – whether it’s in a dark fantasy vein, veering towards gothic historical fiction, or exploring the more surreal edges of horror – is its focus on characters who are fragmented, driven, and obsessive. In contrast to horror and weird fiction that involves fairly normal individuals being confronted with forms of the unknown, Koja’s characters frequently seem to harbour something strange and unsettling within themselves. The weird, in many of Koja’s tales, works from the inside out, not just the outside in. And her new book, Velocities: Stories (Meerkat Press), continues this theme.

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Boy In The Box by Marc E. Fitch review – suspense and creeping dread

Boy In The Box opens with the main protagonist, Jonathan Hollis, waiting in line to kneel before the coffin of his former friend, Gene Hendrickson. Two other mourners, the Braddock brothers, share a dark secret with Jonathan, one which led Gene to take his own life. The four men, friends since childhood, lost touch with each other following a hunting trip a decade earlier. A trip intended to be a stag party turned into something altogether darker, ending in tragedy and leaving each of them haunted in their own separate ways by memories and overwhelming guilt. Now the three survivors must return to the Gulch or their deed a decade ago will be discovered, destroying each of their lives and families futures forever.

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Grotesque: Monster Tales by Lee Murray review – a compelling collection of diverse, thought-provoking worlds

From ancient myths to Victorian serials to Hammer Horror: monster stories have had a lifespan almost as long as the weird, unearthly creatures that are their subject. And if monsters, as many readers and critics have discovered, embody moments of cultural upheaval, then it’s unsurprising that they continue to populate every culture of the world.

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La Guerre des Mondes (War of the Worlds) review – ‘rarely has a piece of science fiction held me so terrified’

No one would have believed in the last months of 2019 that two episodic adaptations of H.G. Wells’ War of the Worlds could be released onto the world’s televisions screens. One, a period-accurate adaptation from the BBC, landed with as much fanfare as a meteorite landing on Horsell Common and was almost as well-received. The other, a bilingual co-production from Fox and Canal+ set in the present day, crept out to little notice due to its awkwardly staggered release pattern across France and the US, eventually reaching the UK in March of 2020.

Will the invasion of La Guerre des Mondes, to distinguish it with the French title, be more successful or will it be “slain as the red weed was being slain”?

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