This film encapsulates the sad problems of city people into an incoherent bottle of clean and fabricated feels. It fails to strike any resonance, partly due to its dreadful gender politics and partly due to its meagre story.

Essentially, we are left watching this shell of a girl drift aimlessly about from man to man as the film becomes a play on how she exists concerning them. She isn't the protagonist in her own story, which is not a good mark when you're claiming to be able to expertly mine and understand the female psyche.

BRUTAL.

New heights of twisted carnage with this one. It's the best of both worlds from each predecessor, although it doesn't feel quite as well put together as 2. Art is more animated than ever and the gore is certainly enough to have warrented a ban hammer ten years ago. It has a new big moment that will be talked about, but things get real creative and real gross throughout, so that each kill practically has the same force as the bedroom scene from 2.

Like damn, no wonder no one else is trying to compete. Terrifier 3 is hardcore splatter and it's an absolute riot.

The beginning of this film hurts so much. The ending hurts even more so. Probably not a narrative that should have been told in the Halloween universe, not for lack of fertile ground, but for brutally dismantling the anonymous shape fans have built of Michael over the decades. This stuff is rooted in us and the result is a weighted horror that is incomparably agonizing. There are more transgressive films, more gruesome slashers, but few are as emotionally confronting as this.

Quit trying to hold on so tight. I'm gone. Long gone. Like a turkey in the corn.

What do I say? The man who ignited my love for film has departed this weary old world. Finding David's work was the moment cinema just clicked for me and there will never be another. I find myself terribly saddened and grateful beyond words.

RIP my friend. There will be clear skies and golden sunshine all along the way for you.

I loved this on first watch, but now it has solidified itself as one of my favourite horror films of the 2020s thus far. It is all so perfectly stated and layered, yet succinctly told--the tragedy and fall of the new psycho as emotionally imaginable as they come. It understands that the spirit of horror is something that has broken and which threatens to break those around itself, and Pearl breaks in one of the most soul-crushing ways I have seen in the 21st century.

The film is a modern classic. It really is.

Araki's films give me so much happiness, man. It's kind of insane, but plug it all into me.

This one is so good. I won't hear a word of it being anywhere below the teenage apocalypse trilogy.

❤️💙💚💛🖤

The finest piece of macabre cinema we have been blessed to witness. My favourite fairytale.

I've said everything I want and need to say about Martyrs in my original review. It's the review I'm most proud of on this site and the one I spent the longest time ruminating upon and wrestling with, because this film deeply and irrevocably affected me when I saw it. It contextualized my personal suffering and heartache at that time in a profound way. What I took from it then I take with me today, at least I try to.

For me, Martyrs is the 2001: A Space Odyssey of horror.