A forgotten myth-until a shunned researcher opens one of the caskets and unleashes this ancient evil on the modern world. Millennia ago, the demon that brought suffering to the mortal plane was split in two, with its eyes locked away in separate chests to prevent it regaining its power. It’s a bit too self-aware in places, but definitely one for the shouldn’t-be-as-good-as-it-is pile. Director Leigh Janiak masterfully walks a tightrope between lampooning and homaging horror classics-it's impossible to miss contrasts to the likes of Scream, Halloween, and even Stranger Things-but it’s all done with such love for the form that Fear Street has established itself as a Halloween staple. Stine, with lashings of gore and a tone drawing on ‘80s slasher flicks that delivers some genuine scares over the three films.
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transcends its origins as a series of teen-lit novels by R. The trilogy, originally released over the course of three weeks, emphasizing its connected nature.
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Soon, a group of genre-typical teens are drawn into a horrific legacy dating back to the 17th century, dodging serial killers, summer camp slayings, and vengeful witches along the way. The first installment introduces viewers to the cursed town of Shadyside, where a string of bloody killings has labelled it the murder capital of America. Spread over three time periods-1994, 1978, and 1666-the Fear Street trilogy is one of the cleverest horror releases in Netflix’s catalogue. It’s absolutely not for everyone-scenes involving cannibalism and suicide make it a particularly troubling watch in places-but thanks to its claustrophobic, brutalist setting and stellar performances from its cast, The Platform is one of the most visually striking and narratively provocative films on Netflix. Equal parts horror, dystopian sci-fi, and social commentary, The Platform works as a none-too-subtle commentary on consumption culture, but also a stark examination of the depths to which desperate people can sink. It’s the perfect recipe for violence, betrayal, and rebellion in director Galder Gaztelu-Urrutia’s tense Spanish thriller. While there’s food enough for all, prisoners on higher levels gorge themselves, leaving those below to starve. Goreng (Iván Massagué) awakes in a cell in a vertical prison, where food is provided only by a platform that descends level by level, pausing only long enough for inmates to eat before traveling ever lower. netflix.This content can also be viewed on the site it originates from. Here, among the laser gunfights and goofball aliens, we got just that. Like its fellow animated snarkfest Bojack Horseman, Rick And Morty is best when it tempers its self-aware humour with a real exploration of its characters’ human weaknesses. Thankfully, showrunner Dan Harmon has also realised that using Rick’s genius to save the day at the end of every episode would eventually get old, so series four leaned heavily into the character’s emotional failings, giving him a depth we hadn’t seen before. Oh, and Rick impregnated a planet (or did he?). There was the now-obligatory episode where the plot’s premise was “I secretly transported you to multiple universes”. We found out whether Rick really did clone his daughter, Beth, or not at the end of series three. There was a Prometheus/Alien franchise face-hugger parody, which was frankly shocking simply for the fact Rick And Morty somehow hadn’t done it before. Our dipsomaniac scientist (emphasis on the maniac) and his fretful, boggle-eyed grandson fought a guy who was the literal embodiment of storytelling in a mind-pummelling episode so meta we’re still not sure whether it’s over or not. The second of the series’ two batches, each five episodes long, aired from May, wrapping up a series that delivered all the irreverent sci-fi beats you’d expect. Thankfully, Rick And Morty survived the Szechuan sauce debacle and the tantrums of its occasionally toxic fanbase to return to high-concept greatness in an excellent fourth series.
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