Nathaniel Thompson

Nathaniel Thompson

Author of the DVD DELIRIUM book series and owner of the site Mondo Digital.

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Recent reviews

  • Forgotten Scares: An In-depth Look at Flemish Horror Cinema

    Forgotten Scares: An In-depth Look at Flemish Horror Cinema


    Uneven but interesting look at the small, bizarre history of Flemish horror, using Daughters of Darkness as a jumping-off point for a look at a wide range of low budget genre films. As a semi-chronological guide this one's pretty valuable and will make you wish some of these titles were a lot easier to find (featuring everything from Lucker and Rabid Grannies to The Pencil Murders and The Antwerp Killer), though at times it feels like a glorified bonus feature with the interview footage lurching all over the place.

  • Spermula



    Finally got around to watching a subtitled version of the original French cut of this one, which is certainly a smoother and more digestible experience than the diced-up, incoherent English-dubbed version that turned this into a sci-fi film (albeit with a killer electronic soundtrack). In its intended form, this is a dreamy meditation on mortality and gender identity with a lot of surrealism and kinky surprises that veer into surprisingly explicit territory at times. And no aliens in sight. A…

Popular reviews

  • The Lighthouse

    The Lighthouse


    For years people will be debating whether this is a horror film, a dark comedy New England period piece, a twisted Americanization of the Prometheus and Sisyphus myths, and/or a bitterly amusing portrait of male aggression and (terror of) intimacy. Any way you slice it, this is a visually intoxicating and brilliantly acted two hander from Willem Dafoe and Robert Pattinson that manages to surpass Robert Eggers' mostly excellent The Witch (or The VVitch if you wanna be all 7even about it) by sticking the landing all the way to the unforgettable final shot. Easily worth repeated viewings and one of the great macabre nautical nightmares.

  • Suspiria



    A raw, screaming art film with a capital A that I deeply enjoyed but would probably never outright recommend to anyone else. Those of us emotionally attached to the Dario Argento film of the same title will have the toughest hill to climb here as Luca Guadagnino doesn't even try to outdo it, veering instead into guilt-ridden, traumatized waters where the only way to survive is either mentally purge your sins or hope someone next to you gets destroyed instead.…