With the film delayed by Covid for nearly 2 years, shuffled during the Fox/Disney studio merger, and overshadowed by a crowded field of horrors in October, you’d be forgiven if you missed Antlers. What’s been overlooked, though, is a fascinating fable with a dread-inducing momentum toward a spectacular climax few films nail. Much like Guillermo Del Toro used the contrast of fantasy to depict fascism in Pan‘s Labyrinth, Antlers uses the horror genre to face the nightmares of contemporary America in intimate and historic terms.
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It seems unreal that one of the godfathers of horror George A. Romero died last year. Since 1968, his presence at comic-cons or on DVD making-of features was almost taken for granted. I’ve made several short films since 2006, trying so hard to get better with each that I almost forgot how much Romero influenced my first efforts: my friend Hank as a chained up zombie coated in chocolate syrup like they used in Night of the Living Dead; gray-ish blue zombie makeup in my short Dawn of the Living, a nod to Dawn of the Dead‘s (1978) unique zombie design. It was a safe space to play as I grew into filmmaking by exploring different narratives in a world Romero created. But his world was more than just zombies – it was about art, politics, being a generous collaborator, and the way we create in a capitalist world. 
The Filmsmith 
Kevin Smith completely reinvents himself with Red State
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