Right now in Austin, Texas, film lovers from all over are converging to revel in their love of film. But not just any kind of films–weird films. Gory films. Films that make people squirm in their seats one minute and laugh out loud the next. I’m talking about Fantastic Fest 2019, the largest genre film festival in the United States.
Fantastic Fest 2019, as in past years, is devoted to horror, fantasy, sci-fi, action and “just plain fantastic movies from all around the world.” Further still, the festival “is dedicated to championing challenging and thought-provoking cinema, celebrating new voices and new stories from around the world and supporting new filmmakers.” Over the years, the festival has put its money where its mouth is, having screened the world premieres of John Wick, There Will Be Blood, Zombieland, Split, and Apostle.
This year, Fantastic Fest 2019 has several notable films, including the world premieres of the latest Stephen King adaptation In The Tall Grass and horror anthology The Mortuary Collection. I’m particularly excited for Nic Cage’s Color Out of Space, The Lodge (from the team that scarred me forever with Goodnight Mommy), and documentary Scream, Queen! My Nightmare On Elm Street. Also, if I’m being honest, this Wrinkles the Clown documentary looks wild.
Earlier this month, the Toronto International Film Festival (TIFF 2019) delighted audiences and critics with a brand new slate of exciting films, not least among them being horror movies.
I just love festival horror films. Most of the time, horror
films that make the festival circuit are much more exciting and innovative than
your run-of-the-mill major studio, teen-horror flick. They may not be the best
movies in the world, and they may not be the scariest, but I feel that such
films should be encouraged and promoted. Why watch the 8th Paranormal Activity movie when you could
see something new and daring from some up-and-coming talent?
Enter TIFF 2019, which has done a stellar job of showcasing groundbreaking horror movies, some of which even went on to become huge hits commercially and critically speaking. TIFF 2019 has shown such films as The Grudge (2002), Hostel (2005), À l’Intérieur (2007), Black Swan (2009), The Lords of Salem (2012), The Ritual (2017), and Halloween (2018), among many others.
This year, the star at TIFF 2019 is Robert Eggers’ The Lighthouse, a moody psychological-horror film starring Willem Dafoe and Robert Pattison. The film is his follow up to The Witch, which took the horror genre by storm, dividing audiences and igniting a debate about what horror movies can do. Also at TIFF 2019 is the latest Nic Cage B-movie horror flick, Color Out of Space. There’s also a bunch of indie horror films with promising premises and fresh, hungry talent in front of and behind the camera.
Check out the TIFF 2019 lineup below!
September’s arrival means two things. First, that school is
back in season, which means a return to old routines, much-appreciated cooler
weather, and a fresh round of illnesses. (Yay for daycare, ugh!) Secondly, it
means we’re officially less than a month away from 31 days of celebrating Halloween!
The best part about Halloween becoming more and more of an
event is that we get a ton of scary movies around this time of year, and September
really ramps up the horror movie releases. As a fan, I love seeing what movies
are released, especially if the September horror movies are buzzy or promising.
However, it’s not always great seeing the not-so-good offerings.
And while I’m a little late with the post (see the aforementioned daycare illnesses, boooo), September is off to a roaring start. That’s mostly due to It: Chapter Two, which is clearly the star of September horror (read my recap of the first half of It here).
You know how sometimes there’s nothing good to watch? So many cable channels, so many streaming services, so many Blu-rays in your house, and yet you can’t find anything remotely interesting to watch? Either you’ve seen all the horror movies you own, or everything airing looks lame. So you end up watching The Office or Parks and Recreation for the five billionth time, or whatever your I’m-bored-and-want-the-TV-on show is.
Well, buckle up buttercup, because it’s time for the 2019 London FrightFest Film Festival! This year marks the 20th anniversary of FrightFest, which is kind of insane when you think about all the amazing horror movies that have graced this horror-focused film festival. The list of groundbreaking and iconic horror FrightFest films is very long—Audition, Ginger Snaps, Pan’s Labyrinth, Martyrs, and The Babadook all count themselves members of this club, just to name a few.
This year, FrightFest will screen over 80 horror films (So. Much. Horror!), which means that BUCKETS of upcoming horror films are about to flood the market looking for distributors. And that means you’ll be seeing those films shortly, either in theaters or on streaming services. Even the most difficult to impress gorehounds and the pickiest psychological horror fans are sure to find something to like.
Guys, what did we do to deserve this many horror movies in a single month?!?! I’m overwhelmed with all these new August horror films! From a ton of VOD films (of varying quality) to some solid theatrical releases, the August horror cup runneth over.
For my part, I’m excited for Ready or Not, Scary Stories
to Tell in the Dark, Tigers Are Not
Afraid, and The Divine Fury.
Watch those trailers and many others after the cut!
With summer drawing to a close, I find myself contemplating how the
meaning of “summer” has evolved throughout my life. As an adult, summer means vacation,
renewed gratitude for Texas-proof air conditioning, and drinking copious
amounts of rosé poolside. As a teenager, summer was consumed with plans to drop
the ten pounds that held me back from being irresistible, scrape together spending
money, and secure a sensitive-but-jocky boyfriend. As a kid, summer was
dominated by summer sports camps, vacation bible schools (blergh), and babysitting
gigs. Whatever my plans, summer means watching tons of TV shows and movies,
which prevent me from getting too bored and getting into too much trouble.
As a kid, I watched so many movies. Everything from old black and white
classics to mediocre romcoms to trashy teen slashers. I especially adored those
adventure movies of the 80s, the iconic films where a group of scrappy latchkey
kids, preteens like I used to be, face a fantastic and dangerous challenge.
Just like with the enticing and taboo slashers where teenagers talked and acted
like adults, so too did those 80s movies suck me into dream worlds where kids
answered the frightening and tempting call of adventure. The threat of injury
and death were always very real. The threat lingered constantly, and the
vicarious possibility of being the casualty, of never making it back home, of becoming
stuck in the nightmare world, was all too compelling.
Those stories have always spoken to me as well as an untold number of my contemporaries. This is the reason why Stranger Things, fueled by what critics merely assume to be nostalgia, enjoys immense popularity.
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.
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?
Horror fans, I’m back!
Not to dwell, but life has been a little crazy for me
lately, and I had to take some time to take care of family stuff (mostly taking
care of an adorable new human who is utterly dependant on others). I had to put
my love for horror on the back burner, unfortunately. But the flame of horror
love burns eternal, and I kept obsessing over the latest horror trailers even
while changing poopy diapers and helping my new baby learn to grab stuff.
Now that things have settled a little bit, I am so excited to start up again. Let’s start with the June horror releases.
But you know what’s not so exciting? The slate of June horror movies. Of the big releases, only The Dead Don’t Die and MAYBE Child’s Play seem worthwhile. The Dead Don’t Die is fresh from its premiere at Cannes Film Festival, which would be a promising sign if it weren’t for all the less-than-stellar reviews. As for Child’s Play, I wasn’t super impressed by the trailer (though I like the tech updates they’ve made to the premise), but then I learned that Mark Hamill was voicing the Buddi doll, and now I really want to see it.
Annabelle Comes Home (alternate title: Conjuring Sequel 432: Electric Bugaloo) is…also coming out this month. Because somehow these movies keep making money. At least Patrick Wilson’s fine self stays employed.
As for smaller releases and VOD films, I’m disappointed, to say the least. Usually, there are a couple of hidden horror gems dumped into VOD land during June, but June’s offering does not inspire confidence. The only one that might have potential is Recovery. While that story could work so well for a horror film, I’m not convinced this low-budget effort makes the most of its promise.
Here’s hoping July’s horror movie releases are more exciting. In the meantime, check out the trailers for June’s horror releases.
(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