***Mild Spoilers for The Vegetarian***
A core component of any good horror story is the characters’ apprehension of harm. Most of the time, the dread manifests as physical pain or violent death. Other times there are more abstract, existential ways of experiencing harm—a terrifying realization of past sins, slowly slipping into insanity, or losing one’s soul to a demonic entity. While physical pain will always be a powerful part of any scary story, an existential threat grabs me in a way most other types of horror don’t, probably because I have more to lose from an existential threat.
A realization that shakes a person to his core is, well, horrifying. It’s terrifying. Take the ancient Greek tragedy Oedipus, who realized he had unwittingly killed his father and married his mother. Or The Orphanage, where protagonist Laura realized she was the one responsible for the slow death of her adopted son. Bodily harm is awful and painful, but an earth-shattering existential realization can destroy the very idea of who a person thinks she is.
It can be extremely psychologically tortuous to deal with something like that, to be confronted with our mistakes and the lies we tell ourselves. People go to great lengths to preserve the reality they wish to see, even at the expense of themselves and others.
It’s destructive on a profound level, even more so if I am responsible for the obliteration of my sense of self.
The idea of self-destruction, of an unsettling, dark urge to protect oneself, of refusal, of stubborn persistence, is what fascinated me about The Vegetarian. It’s a novel about confrontation, about purposeful “self-destruction.”
The Tribeca Film Festival starts tomorrow! The film festival circuit is in full swing and Tribeca is the latest prestigious stop. And I’m going to tell you all about the featured horror films.
Tribeca may not be Cannes, but in its relatively short existence, Tribeca has proven itself a formidable and important film festival. Founded in 2002 by producer Jane Rosenthal, renowned actor Robert De Niro, and real estate mogul Craig Hatkoff, Tribeca has made a name for itself as a festival dedicated to presenting discerning and innovative filmmaking. More than the Cannes Film Festival or the Toronto International Film Festival, Tribeca is about independent films over “prestige studio movies.”
This year, there’s a great mix of various horror subgenres, from serial killer movies to artistic slashers to psychological horror, with loads of films falling between those categories or smashing through them. I have a feeling that some of these feature and short films will go on to generate plenty of buzz. Hopefully, we will see general releases of some of these. I’m particularly excited about Hounds of Love, Psychopaths, and Retouch.
Well, we’re in the full film festival swing of things, which means that there is an exciting new crop of horror movies up for distribution rights! But this also means that, as far as a wide-release calendar goes, there isn’t much to see this April.
In fact, while this month’s slate of horror movies is refreshingly inventive, it’s going to be difficult for anyone to see these outside of major movie markets like New York and Los Angeles. I’m particularly sad about scrounging for a screening of sci-fi existential body horror flick The Void, praying for a showing of the macabre and witchy A Dark Song, and wishing for a chance to see Voice from the Stone, despite my misgivings.
However, many of these movies will be available on VOD shortly after their limited runs, so you won’t have to wait so long!
*Beware, here be spoilers*
The tense political environment right now has me thinking a lot about my identity as an American. I was born and raised here. I’m fairly patriotic. I studied the law and our nation’s history in part to better understand the rules that underlie our Americanness.
And when I think of myself as an American, I think about our rights and the defense of our liberties. I think of working together with those who have different viewpoints. I think of respect and tolerance, because Americans are supposed to hold those values in esteem. I also think, “It’s easy to be American when things are going well.”
What happens if this all falls apart?
We Americans treasure our autonomy. Look at the Bill of Rights. Look at the Constitution. These are the rules by which the government protects our rights and with which the people limit the government. We have all said we agree to abide by this rulebook to preserve everyone’s pursuit of life, liberty, and pursuit of happiness (within reason). Do we mean it?
*Mild spoilers for A Cure for Wellness*
Some horror movies are simply transcendent. Such films function on multiple planes and deliver on every level of filmmaking—acting, writing, editing, cinematography, and direction. They are frightening and entertaining stories that craft pointed arguments about the human condition and, well, scary shit. Those films add to our understanding of the dark places where we dare not tread.
Other films aspire to those same heights, and while this group of films strives to execute on every filmmaking aspect, they fall short. It might be that the acting or editing was merely “good” instead of great.” It might be that the cinematography was astonishing, but something else was poorly done and the film couldn’t recover. I think it’s kind of tragic when a promising movie fails to coalesce into a truly great film.
I’m sorry to say that a Cure for wellness falls into that latter category. Although it was an entertaining movie with a lot to offer, I cannot call this movie a success. An original effort with stunning visuals and a great cast, A Cure for Wellness lacked firm story foundations. Had it the script been better, A Cure for Wellness could have been a real stunner of a movie.
As a self-proclaimed literature nerd with a demanding job, I am torn between my desire to be well-read and getting enough sleep. I wish I had more time to devote to reading, especially as it concerns horror novels and short stories. It’s an exciting genre, and if you can wade through the not-so-great books and find the provocative, imaginative, and truly disturbing reads, it’s a rewarding endeavor.
I am sick of not reading enough horror.
Consequently, I decided that one of my New Year’s Resolutions would be, you guessed it, to read more horror. And so I did a little research and compiled a list of 13 highly anticipated 2017 horror novels to share with you! The list includes some tried-and-true horror veterans, like Caitlin R. Kiernan and Josh Malerman, but it also includes some shiny new debuts.
So if you want to read more horror as well, or if you just want an interesting book to read, check out my list!
A new year, a new list! It’s time for my list of most anticipated horror films of 2017!
Let’s be honest, 2016 sucked in a lot of ways, not least of wish was that the horror movie release calendar was disappointing. Don’t get me wrong, there were some great 2016 horror movies with real terror, solid scares, and provocative storytelling. But there were some real duds, the kind that made me roll my eyes and sigh at the state of the horror industry.
Yet here comes 2017, still full of hope and potential, sharing bright and shiny horror trailers for all. Among 2017’s most anticipated horror are dark and twisted social commentaries, high-profile reboots of horror movie classics, gorgeous grotesqueries, and a few black pearls of brave indie filmmaking.
Check them out!
***Spoilers for The Neon Demon Follow***
Unfortunately, 2016 hasn’t been the best year for horror movies, though it hasn’t been the worst either. In fact, 2016 seems to have been a moderate year, with some of the best films exhibiting hard-to-ignore flaws and the worst films showing flashes of promise. All the good films seemingly came out of left field while all we got from the hyped horror movies were splashy marketing campaigns and disappointment. For me, no other 2016 Horror Movie exemplifies this better than The Neon Demon.