- Horror Movie - Horror Homeroom

Posted on July 19, 2016

5 Recent Horror Film Endings That’ll Shock You

Dawn Keetley

Endings are crucial in horror. During the reign of the Motion Picture Production Code (1934-1968), evil had to be punished, which obviously dictated a certain kind of ending—an inevitable and often abrupt closure that restored the status quo. (Remember the evil Rhoda Penmark in The Bad Seed [1956], struck by lightning at the end, a conclusion most definitely not in the novel.)

It wasn’t until 1968, after the demise of the Code, that modern horror saw its first truly shocking and nihilistic ending in George A. Romero’s The Night of the Living Dead. The protagonist of the film (Ben [Duane Jones]), who was the sole survivor of a night of carnage after a group trapped in a farmhouse were attacked by ghouls arisen from their graves, was shot in the head by a posse “cleaning up” the staggering zombies. There was closure here, but it wasn’t about the destruction of the monster but of the good guy. And, if order was restored (which is arguable), it was indiscriminately brutal. Then came the slashers of the 70s and 80s and, as great as many of them are, they did usher in the kind of ending that unfortunately still prevails in much horror: monster dies; monster isn’t dead; monster is even more angry; cue sequel. Such endings can be shocking, but the shock is cheap, and it really isn’t that shocking after you’ve watched enough of them. Read more

Posted on July 11, 2016

And Then There Were None: The Agatha Christie Revival

Dawn Keetley

We live in an era in which it seems every horror is caught on video tape. Presumably that renders those horrors clear and unambiguous. Pictures don’t lie, right? Except it seems that every picture, every scene of footage that makes its way onto a news broadcast or social media, has a thousand interpretations. On the night of July 7, when five police officers were fatally shot in Dallas during a night of peaceful protest, Fox News was showing live feed of the demonstrations and happened to catch bodies clad in uniform lying on the ground, before anyone knew what was going on. The anchor, Megyn Kelly, clearly not sure what to make of the footage, said uncertainly, “We don’t know what we’re seeing here.” And, in truth, it seems we never know what we’re seeing when some newly videotaped horror makes it into the public domain. Or, we do (think we) know what we’re seeing but our neighbor sees something entirely different. The hope of transparency, of the unmediated “real” –especially the truth of a sin or a crime—always eludes us. In fact, now everything is caught on tape, it seems especially to elude us. And that’s where Agatha Christie comes in. In every detective novel she ever wrote, all of which begin with a crime (usually murder), Christie offers us “the truth.” We know exactly what happened, we know how, and we know why—usually laid out for us by the incomparable Hercule Poirot or Miss Marple. The new BBC adaptation of And Then There Were None is no exception. Read more

Posted on July 4, 2016

The Purge: Election Year: Do Progressive Politics Make Good Horror?

Dawn Keetley

The Purge: Election Year is the third film in James DeMonaco’s franchise and continues on the trajectory set in motion by its two predecessors: it represents a broader political scope with proportionally less dread. Indeed, if the Purge franchise has had only a marginal grasp on the horror genre, Election Year may represent its letting go (though it is still labeled “horror” in IMDb—albeit secondarily to “action”).

In Election Year, the seeds of the resistance to Purge Night that were growing in The Purge: Anarchy (2014) have come to some sort of blossoming in the form of Senator Charlene (Charlie) Roan, played by Elizabeth Mitchell (also currently starring in Freeform’s new summer horror series, Dead of Summer). Charlie witnessed the slaughter of her entire family on Purge Night eighteen years earlier (indeed, her mother had to choose which of her family members would survive). Charlie is not only, unsurprisingly, deeply opposed to the Purge, but also to violence in any form. She intends to defeat the NFFA (The New Founding Fathers of America) and their Purge platform at the voting booth. Ballots not bullets. Read more

Posted on June 30, 2016

Blake Lively Doesn’t Need a Bigger Boat in The Shallows

Dawn Keetley

Synopsis of The Shallows: After her mother dies of cancer, Nancy Adams (Blake Lively) drops out of med school and heads to a secret beach in Mexico, one her mother used to visit. Surfing alone, she is attacked by a large shark and stranded on a small rock about 200 yards from shore.

One of the handful of big theatrical horror releases of the summer of 2016 (produced by Columbia Pictures), The Shallows is expertly directed by Jaume Collet-Serra, who is no stranger to horror. Collet-Serra has helmed House of Wax (2005) and Orphan (2009), as well as directing the first two episodes of ABC’s interesting but finally foundering supernatural found-footage horror series, The River (2012).

The Shallows has inevitably been compared to Jaws (Steven Spielberg, 1975), which both is and is not an accurate comparison. On the one hand nothing like Jaws, The Shallows does, toward the end in particular, make numerous covert references to it—offering an explicit and interesting re-writing. Read more

Posted on June 24, 2016

The Price of Bones: “I just want to be thin” (2016)

Dawn Keetley

A horror short featuring an all-female cast, The Price of Bones stars Summerisa Bell Stevens, Jordan Anton, and Lisa Dennett as two young women, Caprice (Stevens) and Heather (Anton), and Caprice’s unsympathetic mother (Dennett). The film is written by Samantha Kolesnik, directed by Brandon Taylor, and produced by Kolesnik, Melissa Sherry, Michael Sherry, and Hollow Tree Films.

The Price of Bones is about the intense pressure on girls and women to be thin, a pressure that, not least, creates severely disordered eating and exercise habits. Taking the perspective of Caprice, the film focuses both visually and narratively on bodies and food, showing us the constricted world of a woman who can’t see and experience anything that doesn’t have to do with the size of her body. She wakes up and looks at her body; she goes into the kitchen and is confronted with food she doesn’t want to eat and a mother who tries to make her eat it; she exercises with her friend, and they talk about eating and about how thin they are and how much thinner they need to be. Read more