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Author: Sean Woodard

serves as the Film Editor for Drunk Monkeys and a Co-Producer of the faith and spirituality podcast, Ordinary Grace. Focusing on a wide variety of interests, Sean’s fiction, film criticism, and other writings have been featured in Los Angeles Review of Books, NonBinary Review, Horrorbuzz, Cultured Vultures, and Los Angeles Magazine, among other publications. A native of Visalia, CA, he now resides and teaches in Orange County.
Film Criticism

The Writer’s Room: Criterion Sale Picks

The writers of The Frida Cinema share their recommendations for the Barnes and Noble Criterion Collection sale, streaming selections on the Criterion channel, and which movies they’d like to see in the collection.

Film Criticism

Suspiria is My Baby: A List Poem

“Suspiria is my baby” is a phrase that identifies me at the Frida Cinema. I could wax poetically* all day about Dario Argento’s 1977 supernatural horror film.

Film Criticism

Celebrating Bob Clark’s Original 1974 Slasher Classic ‘Black Christmas’

In the 46 years since its release, Bob Clark’s Black Christmas continues to conjure up nightmares and make skin crawl in moviegoers. If it doesn’t, as the tagline goes: your skin is on too tight…

Film Criticism

One Giallo To Rule Them All: Deep Red

Deep Red is the pinnacle of the Italian giallo genre. Follow Sean Woodard as he takes you through its history.

Film Criticism

The Fog: An Effective Exercise in Atmospheric Tension

Sean Woodard explains the impact of John Carpenter’s “The Fog” on his life and the impression that it has left.

Film Criticism

Once Upon a Time in Film Scoring: The Omen

Richard Donner’s The Omen (1976) remains one of the seminal religious-themed horror films to have been released in the wake of Rosemary’s Baby (Polanski 1968) and The Exorcist (Friedkin 1973), cashing in on the socio-political and religious hysteria of the 1970s.

Black Sunday
Film Criticism

It’s Hard to Eat Your Penne with a Face Full of Spikes: Visionaries of Italian Horror

From the 1960s to the early 1980s, the horror genre experienced a boom in Italy. While auteurs like Michelangelo Antonioni and Fellini made socially-conscious films that garnered accolades, other directors dove straight into churning out genre cinema—often in response to American cinema tastes—that reveled in heightened levels of violence, sex, and stylistic excess,