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.
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?
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.
February hasn’t always been a strong month for horror. In fact, the early part of each year used to be seen as a dumping ground for meh movies for the entire film industry. And when it came to horror, a lot of those films were not really worth anyone’s time.
But thanks to the horror boom, which has revitalized the genre, we’re seeing interesting, high-profile horror releases year-round. This February is very strong, with splashy new horror movies straight from the festival circuit (Velvet Buzzsaw and Piercing), solid wide releases (The Prodigy and Happy Death Day 2U), and one VOD release that infuses the Frankenstein mythos with Jewish folklore (The Golem).
February also sees the release of an important and illuminating documentary, Horror Noire, about the historical role of black people both in horror films and behind the camera.
So yeah, February horror has a lot to offer. Enjoy!
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.
Gosh, can you believe it’s December, and we’ve got nearly a year’s worth of horror movies behind us? From A Quiet Place to Hereditary to Halloween, we’ve seen horror movies make waves. We’ve also heard from quite a few quieter horror movies, like Unsane, Mandy, and Annihilation. All in all, it’s been a compelling year for horror with a lot of very creative and innovative films, but also a good amount of the same kind of mediocrity we’ve seen before.
And December 2018 is no exception. This month serves up a short but punchy list of horror movies. The recent trend of Christmas horror anthologies (love) continues with All the Creatures Was Stirring. We’re subjected to an ill-timed holiday horror film in Leprechaun Returns. Lars von Trier does his sexual and violent is-he-a-misogynist-and-if-he-is-does-does-he-at-least-feel-bad-about-it act with The House that Jack Built. And Netflix, as dependable as ever, gives us an early Christmas gift in the form of the film adaptation of Josh Malerman’s frightening, taut horror-thriller Bird Box.
Not a bad month all around, considering.