One of my favorite things about the horror genre is how versatile it is. From films, television shows, books, and art, horror can triumph with the right story and the right talent. And this is particularly true for the horror comic.
It’s a very different experience for horror fans—horror comics have the cinematic qualities of movies with the immersive elements of books. The most effective horror comics take the best aspects of comic book storytelling with stunning artwork, creating unique and deeply disturbing aesthetics that suck in readers and stick with them for days afterward.
With the success of The Chilling Adventures of Sabrina on Netflix, I’ve decided that more people need to know about the horror comic, which reboots the bubbly Sabrina The Teenage Witch series with a decidedly darker angle. And while we’re at it, let’s discuss a small portion of the staggeringly good horror comics the medium has to offer.
It’s officially November, which means that we’ve got a whole new slate of horror movies to discuss while steadily munching on leftover candy.
The months after October were usually devoid of quality (or even interesting) horror movies because the holiday season is the domain of awards seasons hopefuls. But that’s changed in recent years as more and more studios realize there is a year-round audience for horror.
As such, there’s a not-terrible slate of horror movies to choose from this November. Based on trailers alone, highlights include Luca Guadagnino’s stylish remake of Dario Argento’s classic Suspiria, WWII occult-horror Overlord, and zombie-musical-comedy Anna and the Apocalypse. (I’ve been waiting for that last one since I first learned about it at FantasticFest 2017! I never knew how badly I wanted a Christmas-themed zombie musical until then.) But November also has a large number of stinkers, like The Amityville Murders (can they stop with this franchise already? Lord have mercy), The Farm, and The Possession of Hannah Grace.
Enjoy, and let me know what you think in the comments!
Every once in a while, a horror movie comes along that blows away audiences and critics alike. These films are nearly flawless, making perfect use of scares, genre conventions, plotting, character development, cinematography, and score to weave a bewitching triumph of filmmaking that both expands and transcends the genre.
Unfortunately, Netflixs’s Apostle is not one of these films. But damn, I had fun watching it!
Inspired by British religious horror classics The Wicker Man and The Devils, Apostle admirably bites off more than it can chew. Ambitious and thoughtful, it is a gory, thrilling film that needed more space to breathe to achieve horror greatness.
I get into a lot of spoilers here, so be warned. But that shouldn’t stop you from checking out Apostle.
***Warning! Spoilers for Halloween (2018)***
It’s a rare thing to see a horror movie sequel that expands upon and develops the source material in an exciting, worthwhile way. It’s even more unusual and unexpected for a film with as storied a following as John Carpenter’s Halloween. A groundbreaking film that spawned a stream of uninspired sequels, the original Halloween finally has a sequel worthy of its legacy in the latest Halloween film, from Blumhouse Productions.
This horror fan enjoyed the film immensely because it did much more than pay fan service to horror legend. Halloween (2018) dove deep into the genre in a way that slashers rarely do. Sure, it’s got the body count, jump scares, and genre conventions of a slasher (along with some clever role reversals and callbacks), but Halloween will be remembered as a meta-slasher.
40 years after the events of John Carpenter’s Halloween, Laurie Strode, the only survivor of that fateful night, is convinced that Michael Myers will come for her again. Between not treating her PTSD and struggling to live a functional life, Laurie has become a hardcore survivalist. But she’s lost a lot in the process. She has a strained relationship with her family—daughter Karen, son-in-law Ray, and granddaughter Allyson. She is a recovering alcoholic. She doesn’t seem happy at all. But at least she knows that when Michael Myers returns, she’ll be ready for him.
And sure enough, Michael Myers escapes from state custody the night before Halloween. He hasn’t forgotten about Laurie either, and he will stop at nothing before he finds her and kills her. After all, she’s literally the one that got away.
I have to be honest…I’m disappointed in the slate of horror movies for October 2018.
Shouldn’t the movie release calendar for October be overflowing with horror movies? I’m not even asking for good horror movies. I’ll take them all–well-made, shoddily-made, solid casts, bad acting, inventive premises, uninspired ripoffs–I don’t care.
Where are all the horror movies?
I suppose I should be thankful for the movies we have. After all, the latest Halloween comes out this month, and I could not be more excited! Netflix’s Apostle and indie film The Dark also look like great contenders for worthwhile horror.
In fact, I’m just going to spend a lot of my time on Netflix this Halloween. Between Apostle and Netflix’s new series, The Chilling Adventures of Sabrina and The Haunting of Hill House, Netflix seems like a sure bet for horror.
That’s not to say you shouldn’t check out the rest of the horror offerings this month. Maybe just…temper your expectations.
When I first heard about Grady Hendrix’s novel My Best Friend’s Exorcism, marketed as a cross between Heathers and The Exorcist, I just knew I had to read it. I love 80s nostalgia as much as the next person (since I am just barely a child of the 80s). I also love making fun of the 80s, what with the awful clothes and hair, the rampant and self-conscious conservatism, and the general tackiness.
And sure enough, My Best Friend’s Exorcism pays homage to this decade as much as it pokes fun at it. More than that though this novel is heartfelt and creepy, treading into the well-worn territory of fraught adolescent relationships. The result is a book whose nostalgia runs deeper than the pop culture references it deploys throughout.
I rail a lot against bad horror movies, the kind that are excuses to inflict a lot of violence, gore, and bad writing on audiences. As a horror fan, I wish to hold the genre to a certain standard of storytelling because the genre has so much to offer. But I’m realistic, and if a horror movie doesn’t live up to those standards (or even try), all I ask is that it’s at least entertaining. There’s nothing worse than a boring horror movie that tries way too hard.
However, I must confess that I have my own horror guilty pleasures. These are films that I acknowledge are poorly made movies with a laundry list of flaws. Yet somehow, I love them. I watch them over and over.
And my favorite horror guilty pleasure is 2003’s action-horror classic Underworld.