The heat is settling over the country, and so too are the July horror movies creeping onto the big and little screens. This new crop of horror movies is overtaking us all with a cloud of weird VOD releases and an eclectic mix of theatrical releases. To be honest, July horror is a crapshoot every year–for every sumptuously shot arthouse horror film like Midsommer, you have a cheap looking The Strangers rip-off like They’re Inside. For every enigmatic and dread-inducing foreign film like Luz, there’s a survival horror flick about a killer croc during a hurricane (which feels somewhat-opportunistic given all the damn hurricanes recently, Paramount!) But hey, there’s something on this list for everyone!
And I’m going to call July horror a success for no other reason than Critters Attack! is in my life now. I must see it.
release of Midsommar, Ari Aster’s
follow-up feature to last year’s Hereditary,
folk horror is enjoying much deserved time in the spotlight. While the niche
horror subgenre is known to many a horror fan (folk horror is one of my
favorite subgenres), many curious viewers are at a loss when it comes to folk
horror. What is it exactly?
Of course, as many folk horror fans will try to explain, the subgenre is difficult to pin down. Some consider it a subset of religious horror, and while I see and respect that viewpoint, I don’t necessarily agree with that. The two subgenres are related; I see them as distinct. Perhaps folk horror and religious horror are sisters. They both explore man’s fear of his beliefs, of one’s faith being tested, and of watching religion corrupt its practitioners. But folk horror has a particular flavor, a certain aesthetic, which religious horror does not replicate.
If you’re feeling the 80’s revival happening in recent horror movies, check out Mandy (2018), starring Nicolas Cage and directed by Panos Cosmatos (Beyond the Black Rainbow). Fresh off its screening at the 2018 Cannes Film Festival, Mandy might be Nicolas Cage’s best performance, and it wouldn’t surprise me if he makes another horror movie that’s as good as Mandy is.
Streamable on Shudder and available for rent on Amazon, Mandy starts as a love story that is then manipulated by hallucinogens, a psycho cult leader, some slashing, a little fantasy, and beautiful, bold colors.
(To read my past coverage of Cannes, see my 2016, 2017, and 2018 posts.)
One of the more exciting trends in horror over the last few years has been the proliferation of horror movies making splash debuts at renowned film festivals. Horror has been defying expectations and proving the genre haters wrong by showing up and showing out at festivals like Sundance and SXSW. Even genre festivals like Fantastic Fest and Frightfest have increased their profiles to become hotly anticipated in horror and non-horror circles alike.
as a horror fan, I feel like it’s about damn time. Many critics and filmmakers
have turned their noses up to horror, so it’s nice to see the industry not only
embrace horror but start to experiment with how the genre can tell compelling
Cue the Cannes Film Festival, arguably the glitziest and most buzzworthy film festival in the world. In years past, horror films like Evil Dead 2, Pan’s Labyrinth, Train to Busan, and The Neon Demon. have garnered much attention and acclaim at Cannes. Additionally, Cannes serves as an important marketplace and networking nexus for filmmakers looking to secure additional funding or distribution for their horror films. Such attention helps the whole genre do better, which is why I catalog the horror films showing at both the Cannes film festival and the Marché du Film (Cannes’ Film Market) every year.
year’s Cannes festival doesn’t have as much horror as I would like to see
(there’s never enough horror as far as I’m concerned). It’s disappointing that
there aren’t more horror films at Cannes, but rest assured, those that will
screen are ones to watch. This small but strong group of horror films promises
to offer audiences a lot more than the same old tired remakes and half-assed
With the plethora of fantastic horror available right now, it’s a great time to be a horror fan. Not only are horror movies getting better and better, told from a variety of viewpoints and with tons of cool new stories, but television is also experiencing a horror renaissance. And y’all, there are just too many options to choose from.
It all started with the premiere of What We Do In The Shadows this past week, which got me thinking–what other cool new 2019 horror TV shows have come out or are coming out soon?
Want more SXSW horror besides Little Monsters? Check out my SXSW 2019 Horror Lineup post.
The zombie horror-comedy is so popular that it’s nearly a separate horror sub-genre. Films like Dead Alive, Shaun of the dead, and Zombieland have shown just how fun and raucous a zombie film can be without skimping on the gory set pieces we all love. But not all zombie comedies meet the mark. To be successful, a zombie horror-comedy must command two separate films in one, and as such, must strike a balance between the gravity of a zombie outbreak while creating relatable, funny characters.
At first, Little Monsters might seem like too risky a premise to strike that balance. Set in present-day Australia, Little Monsters follows Dave (Alexander England), who is crashing on his sister’s couch after his life craters. When he’s not smoking weed, he’s watching his adorable 5-year old nephew, Felix (Diesel La Torraca). Once Dave meets Felix’s lovely kindergarten teacher, Miss Caroline (Lupita Nyong’o), he decides to pursue her by volunteering to chaperone the class’s field trip to a local petting zoo. Little do they know that the American army base next door to the petting zoo has been secretly conducting zombie experiments (naturally). The zombies escape, of course, and Dave and Ms. Caroline find themselves responsible for the lives of eight adorable, innocent, precocious kindergarteners. And if that wasn’t enough, they must also contend with Teddy McGiggle (Josh Gad), a highly annoying kids’ entertainer who shows his true sleazeball colors once shit goes down.