*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.
1977 was a damn good year for cinema with the release of modern film classics like Star Wars, Saturday Night Fever, Annie Hall, and Close Encounters of the Third Kind. It was also an inspired year for horror, with The Hills Have Eyes, Eraserhead, Rabid, and, of course, Dario Argento’s masterpiece, Suspiria. One of the most iconic horror films ever, Suspiria enjoyed the 40th anniversary of its world premiere a few months ago. Just a few days ago, it enjoyed the 40th anniversary of its American release.
Suspiria is one of my favorite horror movies. Full stop. Not only is it violent and horrifying, it’s freakin’ gorgeous. Gory and unsettling, its visuals are beautiful and opulent. Suspiria is a true experience, more than a straightforward movie-watching experience. Like the giallo movies from which Suspiria is descended, the film explores the stunning effect of horrific violence rendered cinematic. Of all the giallo films, Suspiria achieves a rare kind of horror movie sublimity, slipping into your subconscious like a long, thin blade. Continue reading
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 the pursuit of happiness (within reason). Do we mean it?
UPDATED TO INCLUDE THE 2018 WINS!
*Interested in what other awards shows have honored horror films? Check out my Golden Globes post here.*
The Academy Awards just announced their list of 2018 nominations, and it is so nice to see The Shape of Water and Get Out get some love!
I’m a huge film buff (I love movies in general, not just horror movies) and I enjoy watching the Academy Awards every year. I strive to see all the Best pictures, even if I don’t agree with the choices. Despite my love and respect for the Academy Awards, I am disappointed that many excellent films are completely overlooked by the Academy. Especially horror films.
I shouldn’t be surprised. The Academy has a lot of issues. The Academy is a notoriously conservative body, reluctant to reward risks or give credit to inventive and brave filmmaking. Lately, it seems like the more popular a film is, the worst its chances are for receiving any kind of recognition from the Academy, though there are notable exceptions. Why does the Academy pick certain films over others? I have no idea.
And while horror is criminally underrated and underappreciated as a genre, while turning out well-made and culturally resonate films, there have been several films that the Academy has lauded for achievements in directing, acting, cinematography, and other facets of filmmaking.
Perhaps the recognition of The Shape of Water and Get Out marks the turning of the tide. Let’s hope that the more and more high-quality, compelling horror movies are made, the more recognition is paid to this underrated genre.
***WARNING: HERE BE SPOILERS FOR BOTH THE 1974 and 2006 BLACK CHRISTMAS.***
If you pay attention to movies at all, you’ve noticed the proliferation of remakes. Since the beginning of the film industry, producers and directors have recycled and revamped material. The remake has proved itself a trusted Hollywood standby, combining a tried-and-true formula with an audience that is (hopefully) willing to pay to see a rehash of a popular film.
To a degree, it makes perfect business sense. The story is already written. The original is already embedded in pop culture. And sometimes, a cult classic could use an upgrade, especially with a bigger budget and more experienced filmmakers taking the reins.
But more often than not, it seems that the opposite is true and that many remakes are unnecessary, paling in comparison to their storied predecessors. Such projects smack of opportunism and audiences can usually see right through it. We’ve all been there, rolling our eyes when a trailer for the remake of Poltergeist lumbers on screen or snickering to ourselves when we learn that Nightmare on Elm Street is getting a second reboot.
**Beware: Here be spoilers For They Live.**
The 2016 Presidential Election is finally and mercifully drawing to a close. Regardless of political affiliations, it seems like the whole country reels from the drawn-out election cycle, temporarily traumatized by the mudslinging and grandstanding and pettiness. But this election has been one for the ages. I know everyone always complains that every succeeding election is worse than the one before, but this one was really, really nasty.
We are all overwhelmed by this election, a terrible yet fitting end to an exhausting year. Myself, I try to stay as politically connected as possible. I read the news, follow Congress’s lawmaking progress (or lack thereof), watch the President’s speeches, and read all the Supreme Court opinions I can reasonably fit into my life. So for this election, I gritted my teeth and surrendered to the vicious news cycle. I listened to stump speeches and watched the debates and did my research. It was draining. When I cast my early voting ballot, I was relieved because I thought I could stop caring for a while, until the next election cycle starts back up.
I threw myself into Halloween and friends and blogging. I tried and failed to distract myself. Not only was the election impossible to avoid, but I couldn’t stop thinking about it. I watched my horror movies and read my scary short stories and couldn’t help but ask myself, How will we express what this election has wrought? What art will come out of this election?
Which brings me to John Carpenter’s political sci-fi-horror B-Movie classic, They Live.
I’ve always thought the werewolf was a fascinating horror archetype. I’ve talked about vampires, zombies, witches, and serial killers, and how all of those horror archetypes address certain human fears. Usually, vampires address fears about becoming lost to our desires and lusts; zombies are about becoming lost to a brainless, teeming hoard; witches are about the fear of too-powerful feminine influence; and serial killers are about the inherent ability and capacity of man to commit violent, unjustifiable murder.
And while all of these monsters address fears relating to control and human identity, no other monster encapsulates our anxieties quite like a werewolf. It’s no secret that civilization is a precarious balancing act between repressing and acknowledging our base, animalistic impulses. Werewolves personify the tension between our rational, controlled selves and our savage inclinations. Regardless of whether or not a werewolf can control his transformation, the opportunity to become a dangerous, uncivilized brute is a siren song few characters can resist.
Nothing says Halloween quite like a slasher film. A good, old-fashioned slasher will terrify you in the theater and keep you on edge for days later. If you’re anything like me, a good slasher will make you jump and screech and check the locks on your windows for days afterwards. You’ll tell yourself, this is stupid, that movie was stupid, and–HOLY CRAP WHAT WAS THAT SOUND?!?!
Because while slashers may be campy, cheesy, and perhaps a little dumb, they’re effective. We are simultaneously repulsed and drawn to this movies that are usually light on plot and heavy on violence.