*Mild Spoilers for It**
I’ve known about It for as long as I can remember. It was that massive brick of book that sat on the shelf at the public library, daring me to secretly check it out and sneak it home, where I could read it under the covers at night. It was also that early 90s TV movie starring Tim Curry that my parents wouldn’t let me see, and that I didn’t see until I watched it during a slumber party. Growing up, It was the epitome of horror, not only because of the scary clown, but because children were the target of his evil, and It was not afraid to depict child murder.
It really went there, and many 90s kids won’t forget it. Many of us flocked to movie theaters last weekend and forked over cash to see the latest adaptation of It. I, for one, was almost giddy with excitement. I wanted to be scared sh*tless. I wanted to recapture some of the terror I felt reading the novel. I’ve grown up, but I still remember the exquisite and sickening pain of growing up, of realizing the evil in the world.
But this adaptation didn’t make me feel that.
Did you know It, the long-anticipated major studio adaptation of Stephen King’s most messed up novel, is being released this month? Of course you did, because those freaky trailers have been everywhere!
Did you know that Darren Aronofsky’s mother! is also being released and marks the director’s return to exquisite psychological horror? You sure do if you follow this blog, because I won’t shut up about it.
With those two films only, September 2017 is a good month for new horror movies. The same garden-variety, lamesauce horror films crop up (Temple, The Sound), but we’ve also got a few Netflix and indie horror movies that are worth a closer look (The Limehouse Golem, Flatliners, Don’t Sleep).
One of my guiltiest pleasures is the high school horror movie. I can’t get enough of the cheesy teenaged angst, bad acting, and messy murders on school property. Masked maniacs, fleeing cheerleaders, shady teachers, and terrible secrets are all hallmarks of this horror subgenre that just won’t seem to die. It seems that, despite how boring we thought high school was, the high school horror movie strikes a chord over and over again.
As part of my ongoing series, Horror at Film Festivals, let’s take a trip down under to Australia for the Melbourne International Film Festival. The world isn’t just about Cannes and Sundance, now is it?
The Melbourne International Film Festival is chock full of horror spanning a wide range of tastes from the gory to the eerie to the downright weird. From August 3rd to August 20th, the film industry will gather in Melbourne to toast the latest crop of inventive and important films, and horror films part of the schedule.
As a festival, the Melbourne International Film Festival aims to show the global audience all manner of “curated and unforgettable screen experiences.” The major Australian film festival, the Melbourne International Film Festival is also one of the oldest film festivals in the world, showcasing films since 1952. It has a decidedly different flavor to its film lineup, focusing on daring, a little risky, slightly off-kilter independent films.
To that end, the Melbourne International Film Festival has showcased works by horror icons Dario Argento, David Cronenberg, and David Lynch, among many. More recently, the Melbourne International Film Festival screened such horror films as Housebound, Train to Busan, and What We Do in the Shadows.
The lineup for 2017 is exciting! Melbourne International Film Festival has one of the most extensive slates of indie horror I’ve seen at a major festival. I can’t wait until I can see these in America!
I won’t lie, I was ready to be disappointed by Alien: Covenant.
When I finally walked into it, I did so with low expectations and gratitude that my ticket was free. An ardent fan of both Alien and Aliens, I’m still sore about how disappointing Prometheus turned out to be. I was hopeful that Alien: Covenant would be different, but I wasn’t going to hold my breath. I thought I’d learned my lesson about managing expectations.
So imagine my surprise and delight when Alien: Covenant turned out to be thrilling, scary, and downright thoughtful. Alien: Covenant, thankfully, broke new ground instead of rehashing Prometheus and took meaningful steps towards giving us the same kind of gruesome and disturbing space horror epics we all know and love.
Woohoo! June horror movies are here! There’s a lot this month, so strap in and buckle up because there’s wide array of films. There’s different subgenres, different levels of quality, and different levels of WTF-ness.
I need to apologize as well, because I’ve been traveling the last few days, which delayed my normal blog post schedule. Basically, I was traveling and boozing it up. Consequently, I wrote a lot of this in the Houston airport after drinking several glasses of overpriced wine (#noregrets). I am truly a Hemingway fan and wrote drunk and edited sober.
Can I just say that this was very fun to edit this? It was a challenge.
But anyway! Here’s your June Horror Movie list! You didn’t miss much from my post being late. Ooops!
***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!