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.
release of Midsommar, Ari Aster’s
follow-up feature to last year’s Hereditary,
folk horror is enjoying much deserved time in the spotlight. While the niche
horror subgenre is known to many a horror fan (folk horror is one of my
favorite subgenres), many curious viewers are at a loss when it comes to folk
horror. What is it exactly?
Of course, as many folk horror fans will try to explain, the subgenre is difficult to pin down. Some consider it a subset of religious horror, and while I see and respect that viewpoint, I don’t necessarily agree with that. The two subgenres are related; I see them as distinct. Perhaps folk horror and religious horror are sisters. They both explore man’s fear of his beliefs, of one’s faith being tested, and of watching religion corrupt its practitioners. But folk horror has a particular flavor, a certain aesthetic, which religious horror does not replicate.
(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
Do you ever wonder how or why certain pieces of art are worth millions of dollars? I think about that a lot, especially as someone who loves art. As an art lover, it doesn’t always make sense to me how some pieces can sell for $90 million while others go ignored. Are we saying that those big-ticket paintings are better art than those that don’t command those prices?
Of course not. The art scene, where critics reign supreme, gallery owners function as gatekeepers, and everyone wants their cut, sounds like the very opposite of how art should be handled. It seems twisted and deeply nihilistic to reduce artistic expression to its dollar amount.
This is the premise behind Velvet Buzzsaw, Dan Gilroy’s latest effort. Fresh from its premiere at Sundance Film Festival, Velvet Buzzsaw is a satirical horror film that aims to tackle this vapid world and those who inhabit it.
The time has come for the Sundance Film Festival 2019!
You guys, I’m so excited to see what all Sundance has in store for us on a horror front. Year after year, Sundance has provided some really cool cutting edge horror ranging from the commercially and critically brilliant (2017’s Get Out) to some very intense horror films (like last year’s Hereditary).
In fact, Sundance has always been a showcase for up-and-coming horror. Sundance brought us last year’s Mandy and Revenge in addition to The Blair Witch Project, American Psycho, Saw, 28 Days Later, The Descent, and The Witch.
Truly, the Sundance Film Festival is one to watch, which is why I’ve covered it for both 2018 and 2017. This year, I’m excited to see the wide array of horror films. There are so many! And so many different kinds. There’s the arthouse gore of Velvet Buzzsaw, the black comedy of Little Monsters, and survival horror of Corporate Animals. I can’t wait to see what films have legs and become future horror heavyweights.
*Warning: Some Spoilers for Suspiria*
When I walked out of the theater after watching Luca Guadagnino’s remake of Suspiria, I didn’t know what to think. I didn’t know how to feel. I didn’t know if I liked the movie or if I hated it. Oh sure, there was plenty of horrific elements and beautiful dance scenes and provocative imagery, but did I enjoy it? Was it a good movie?
And then I realized that I felt the same way after watching Dario Argento’s original Suspiria. I had to laugh. Even though the remake of Suspiria is a wholly independent film that stands on its own, it reminded me of the original in more than one way. Beyond the purposefully muted visual palate, the expanded plot, and the exploration of themes, Guadagnino’s Suspiria creates a similarly enigmatic and overwhelming horror film that compliments Argento’s work.
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.
The Venice International Film Festival officially kicks off today, serving as one of the most important stops on the film festival circuit. Venice is one of the three most influential film festivals in the world, up there with Cannes and Berlin. As such, films showcased at Venice are regarded as being the crème de la crème, as prestigious films that aim to elevate the medium of film.
Of course, horror films are often overlooked. But not always.
Tomorrow is the official kick-off of the Sundance Film Festival! That means you should get ready for a fresh round of groundbreaking, artistic, and unsettling indie horror films.
Sundance is the largest independent film festival in the United States and one of the beacons for upcoming independent horror films. Among the slate of prestigious arthouse flicks and top-tier foreign films, Sundance makes room for imaginative and innovative horror and genre films. Being the largest independent film festival in America and one of the most important film festivals in the world, Sundance provides invaluable exposure for horror films that buck the studio system and push the envelope.
All of which is great news for horror fans of all stripes.
As a horror fan, I live and die for visually striking, beautiful horror films. It doesn’t matter what subgenre of horror it is or how gory it is—I love beautiful horror. The more provocative, the better. I can’t look away from a film like Suspiria or The Cabinet of Dr. Caligari. I wouldn’t even if I could because I love the delicious contrast between watching something scary when it’s in a bold, ornate, artistic cinematic language.
Many horror films don’t bother with a strong, unifying visual concepts, so I find it refreshing when a film achieves a distinct cinematic style and tone. It’s even better when that distinct cinematic style transforms the horrors on screen into something gorgeous and compelling.
A beautiful horror film is special. A keen grasp of color and form and composition add layers of understanding to the story. An inspired eye deepens my apprehension, heightens my terror, and distills my horrific realizations into an unforgettable viewing experience. A beautiful horror film makes me wish I’d taken more film classes in college.A beautiful horror film scratches its way into my brain where it makes a permanent home.
A little while ago, I shared a list of my favorite beautiful horror films. The list included classic horror films with almost universally praised aesthetics, like The Shining or Let the Right One In. Lately, I’ve decided the time has come to publish an additional list including more of those visually magnificent films I love so much.
For this list, I’ve put together an eclectic group of beautiful horror films ranging from a noir-inspired B-movie to a French horror classic to last year’s prettiest and most disappointing movie. Here they are, in chronological order, resplendent and unsettling.