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Dawn Keetley

Posted on July 22, 2026

Review: Marcus Kliewer’s The Caretaker

Dawn Keetley

Marcus Kliewer’s 2026 novel, The Caretaker, in true horror fashion, begins with a prologue. A man (David) is trying desperately to follow “the Rites” in order to ward off a “Visitor” who looks just like his dead son but isn’t. He fails. Then we cut to Macy Mullins, our twenty-something protagonist – and the story becomes hers. Indeed, one of the very many good things about The Caretaker is Macy Mullins, a character expertly drawn whom we can’t help but care about, despite her own conviction that nobody will.

Macy is looking after not only herself but her teenage sister, Gemma, in the wake of their father’s death in a car accident. Three years later, his daughters are struggling to come to terms with their grief – and, indeed, to get by at all. Without a job, with no money, and accumulating eviction notices, Macy answers a strange ad for a caretaker for an elderly man – only three days of work. She takes the job even after a still stranger interview where she discovers the elderly man in question is apparently dead and what she is really being asked to do is stay by herself in the house and follow a bizarre sequence of “routines.” Desperate, she agrees. (And who wouldn’t take $9000 for three days’ work?) The novel follows Macy over those three days.

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Posted on July 13, 2026

Backrooms, Texas Chain Saw Massacre, Dinner Scenes, and Discarded Workers

Dawn Keetley

The new power duo of Gen Z directors, Curry Barker and Kane Parsons, both seem to be influenced by an iconic horror film: Tobe Hooper’s 1974 Texas Chain Saw Massacre. Director of the record-shattering Obsession (2026), Barker is directing a reboot of the film for A24, which he plans to make “grounded, brutal, raw.” Kane Parsons, director of the similarly record-shattering Backrooms (2026), does not appear to name Texas Chain Saw Massacre as an influence (see this article in GQ for the list of the influences he’s claimed), yet he incorporated an extended homage to Hooper’s film into his own, in one of the most interesting scenes of the film.

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Posted on March 24, 2026

Cultivate your own garden: Park Chan-wook’s No Other Choice

Dawn Keetley

In Candide, ou l’Optimisme (1759), Voltaire concluded with one of the most important ideas in modern philosophy: “Il faut cultiver notre Jardin”: We must cultivate our garden. No Other Choice, the 2025 darkly comedic film co-written, produced, and directed by Park Chan-wook takes this adage quite literally, as protagonist Man-su (Lee Byung-hun) attempts to ‘cultivate’ his ‘garden’ after being let go from his managerial job at a paper company. Thirteen months later, Man-su is still without a position and is confronted with rapidly diminishing funds along with the prospective loss of his gorgeous house, embedded in lush countryside. So, he sets out on a campaign to win a position at a successful paper company, Moon Paper, by killing its current manager and two other likely contenders for the job.

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Posted on March 5, 2026

Dead of Winter, the horrors of aging, and the winter of life

Dawn Keetley

Directed by Brian Kirk and starring Emma Thompson, Dead of Winter is an action/survival thriller released in 2025 to quite positive reviews. It’s set in northern Minnesota, although filmed in Finland and Germany, and the landscape is beautiful: Kirk and cinematographer Christopher Ross really capture the frozen and vast desolateness of the upper Midwest of the US.

The plot of Dead of Winter begins with Barb (Emma Thompson), who is driving up to Lake Hilda in northern Minnesota (in off-and-on blizzard conditions) to scatter the ashes of her dead husband, Karl. Barb runs into a couple (who remain unnamed), who have kidnapped a young woman, Leah (Laurel Marsden) and are holding her captive in the basement of their cabin. Once Barb discovers Leah, she promises to save her – and most of the film concerns her indefatigable efforts, even as she becomes more and more injured, to rescue Leah from the couple. As the plot unfolds, it turns out that the couple aren’t evil . . . exactly. The woman (Judy Greer) is terminally ill with some unspecified liver condition; she works as an emergency nurse and encountered Leah when the latter was admitted after a suicide attempt. Knowing she needs a liver transplant to survive, and having the skills and connections to arrange one off the grid, the woman kidnaps Leah to be her unwilling liver donor, convinced she’s doing no harm as Leah wants to die anyway. (Of course, not surprisingly, when faced with her own prospective murder, Leah decides she wants to live after all.) The woman’s husband (Marc Menchaca) seems deeply opposed to what they’re doing, but feels obliged to help his wife.

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Posted on February 18, 2026

The House Was Not Hungry Then – But It Is Now

Dawn Keetley

The House Was Not Hungry Then (2025) is the directorial debut of filmmaker Harry Aspinwall. It is filmed almost entirely within and from the perspective of a single house (located in Angus, Scotland); only the last scenes take us out of the house, although our perspective remains with it. The film is shot by means of static cameras located in several rooms in the house: the cameras don’t move and we get no alternating shots that give us any additional information than what we get in those fixed shots. Aspinwall describes the philosophy and composition of the film on his website:

“I wanted to do something different. I love the dry comedies of Ruben Ostlund and Roy Anderson, and the tongue in cheek morbidity of Edward Gorey. I started to think whether I could make a horror film following the same principles, of distance, of sparsity, of withholding, of brutal objectivity. No inserts, no reaction shots, nothing to tell the audience what to feel, just one single locked off wide for each room. What would that feel like, to be so still, so removed from the human life that wanders in, unsuspecting?”

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