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.
their nature, are weird.
about it—they’re (often) miniature representations of people meant to be played
with. They’re inanimate objects. With another person or an animal, there’s an
exchange, an actual relationship of some kind. But with a doll, there’s nothing
inside the doll to interact with. Yet we design them specifically to encourage that
interaction. In fact, we craft dolls specifically to invite children and adults
alike to construct identities for their dolls, to feel like there’s some kind
of relationship there. Because dolls demand that the person invent a
personality for the doll, a narrative for the doll, a ghost of a person to live
within the doll.
That’s weird, right?
(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?
This year, SXSW was a hotbed of buzzworthy horror movies, many from first-time directors. That’s one of my favorite things about film festivals—new voices and diverse viewpoints are given their time in the spotlight, and we’re all the better for it. This is especially true for horror, which benefits drastically from creative, fresh voices. After all, the same old shit can’t be relied upon to continually explore our fears, and filmmakers shouldn’t try.
Of the horror-comedy films at SXSW, Extra Ordinary was my favorite. Though it wasn’t without flaws, it was a confident debut for its first-time directors. It was an original horror-comedy with a distinctly Irish flair. It is also the most adorable horror-comedy I’ve ever seen, and I enjoyed it immensely. Who knew that sacrificing virgins and exorcizing ghosts could be so uproarious and charming?
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.
Adapting movies into television shows is always tricky
business. Just as with film remakes, television adaptations face a host of problems
from struggling to expand the scope of the original to failing to honor the
spirit of the source material. For every Westworld,
there are countless series that tried to adapt the likes of Blade or Taken. These series often fail to capture the spark of their
inspiration, either by neglecting to involve the original creative team or by
rushing production and failing to put forth a quality product.
However, judging by the pilot episode, FX’s What We Do in the Shadows series will succeed on both these fronts. Not only does the pilot capture the original film’s quirky and beloved sense of humor, but it also builds a firm foundation for what should be an entertaining and creative exploration beyond the original.