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Posted on May 29, 2016

The Other Side of the Door (2016) and Wake Wood (2009): Folk Horror and Grief

Dawn Keetley

DEFYING DEATH IN THE HORROR FILM: Since at least Pet Sematary (1989), we’ve known it’s not a good idea to try to bring loved ones back from the dead. Indeed, this theme goes back still further. What was Frankenstein (1931), in the end, if not a warning about what happens when you raise the dead? But if horror is at bottom about the inevitability of death, it’s also about our efforts to defy that inevitability—efforts that are at the same time heroic and dangerously hubristic. Both The Other Side of the Door and Wake Wood demonstrate this in terrifying fashion.

The release last week of The Other Side of the Door (2016), directed by Johannes Roberts, written by Roberts and Ernest Riera, and starring Sarah Wayne Callies (The Walking Dead, Colony) and Jeremy Sista (Six Feet Under, The Returned), is a dramatic manifestation of the fact that we’ll never get over (or around) the implacability of death.

Indeed, we can see the persistence of the human desire to overcome death in the fact that The Other Side of the Door is strikingly similar to another relatively recent Irish folk horror film—Wake Wood (2009), which was directed by Arthur Keating and stars Aidan Gillen (Game of Thrones), Eva Birthistle (The Children), and Timothy Spall (Harry Potter, Mr. Turner). Both films are worth watching, both in and of themselves and also because of what their similarities say about an enduring theme of horror. Read more

Posted on May 26, 2016

The Break-In (2016) Review

Dawn Keetley

I watch a lot of horror films, including as many independent productions as I can. I forget many of them shortly after finishing them. I never make it through many others. But sometimes I find one that really surprises me—and those are the ones I tend to write about. The Break-In, written and directed by Justin Doescher (who also stars), was such a surprising film: it pulled me in, made me want to keep watching—and then came at me with an ending I did not see coming and that I’ve been thinking about ever since. The Break-In is definitely low-budget, but if you’re mulling over whether or not to watch this film or spend the big bucks for the latest high-profile theatrical release, The Darkness, stay home and rent The Break-In.

As a testament to how interesting I think this film is, there are two parts to this review. Read the first part before you watch the film, and hopefully it’ll make you want to watch. The second half, below the big “Spoiler Alert,” are my thoughts on the film in light of its ending. You should come back and read that part after you’ve watched the film. Read more

Posted on May 18, 2016

The Devil’s Woods (2015)

Dawn Keetley

In the Irish folk horror film, The Devil’s Woods, four friends (Keith, Jen, Jay, and Katie) head from Dublin to a music festival in the country, with the intent of camping in the woods. On the way, they run afoul of some unfriendly locals in the wonderfully-named local pub, The Hatchet Inn, and then, once in the woods, they are inexplicably terrorized by strange figures in masks.

Here’s the trailer:

Posted on May 11, 2016

Ben Wheatley’s High-Rise: Pretty but Empty

Dawn Keetley

Synopsis: Although Tom Hiddleston is brilliant as its shiny, empty protagonist, High-Rise is tedious, pretentious and, well, empty.

I am an avid fan of Ben Wheatley’s Kill List (2011) and so was eagerly awaiting his latest film, High-Rise, which is based on J. G. Ballard’s 1975 novel of the same name. I was sorely disappointed: High-Rise is a pretentious and pointless film. It somehow manages to be heavy-handed in its attempted allegory and empty of any actual meaning. It was boring; I hated every single character; and I found myself asking every few minutes why I was still watching.

High-Rise begins at the end, with its bloodied protagonist, Dr. Robert Laing (played very effectively by the talented Tom Hiddleston), roasting a dog on top of a high-rise apartment building in some faceless urban landscape. The film then backtracks to the months of chaos and violence that ravaged the apartment block—spurious class conflict enflamed by the perpetual confinement of the high-rise. Indeed, the best part of the film may be the towering figure of the building itself, which is all-encompassing: we only ever see fleeting and partial glimpses of the world beyond, and that exterior landscape only ever appears in the frame with the high-rise (one part of the film I did love, actually). Read more

Posted on May 8, 2016

Holidays (2016)

Dawn Keetley

Holidays, released in April 2016, is a horror anthology featuring eight short films (which I’ll list with directors at the end). Since I’m not a huge fan of anthologies, I was surprised at how much I enjoyed this one—and that’s in large part due to the strong narrative continuities that bind the individual films together. Collectively, they (1) illuminate the often primitive violence that still lurks beneath our holidays rituals; (2) showcase the power of body horror; and (3) make strikingly clear that a major gender transformation is not happening but has already happened in horror.

(1) Three of the films explicitly take up the rituals surrounding some of our most vaunted holidays, now more often than not papered over with Hallmark cards and polite, well-coiffed brunches in expensive restaurants. Read more