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!
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
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.
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.