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Dawn Keetley

Posted on November 6, 2015

The Resurgence of Folk Horror

Dawn Keetley

If you haven’t yet heard of folk horror, this post will serve as your introduction to a subgenre that seems to be experiencing something of a renaissance. It’ll also get you ready for the release onto VOD on Friday (November 6) of what promises to be a compelling example of that renaissance—The Hallow, a British-Irish co-production filmed in Ireland, and directed by Corin Hardy. The official trailer includes the tag-line, “Nature has a dark side,” getting at what I think is perhaps the most distinctive characteristic of folk horror: Nature is no longer content to be background. Nature has power, agency, in folk horror. It lives, moves, acts, overpowers, destroys.

1. The Hallow

By most accounts, the term “folk horror” was coined by Mark Gatiss in a 2010 BBC documentary on the history of horror. Gatiss identified three films as the core of this tradition—Witchfinder General (1968), Blood on Satan’s Claw (1971), and The Wicker Man (1973). Recent discussion of this newly-defined horror subgenre (almost all on websites and blogs) has begun to uncover both its roots and its persistence, looking back to late nineteenth-century writers of “weird” fiction, like M. R. James and Algernon Blackwood, and recognizing the contemporary renaissance of folk horror in Wake Wood (David Keating, 2010) and Ben Wheatley’s Kill List (2011) and A Field in England (2013). I should add to the list, too, the upcoming The Witch (Robert Eggers, 2015) and The Forest (Jason Zada, 2016).

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Posted on October 29, 2015

Game Horror, Circle (2015), and Lifeboat Ethics

Dawn Keetley

Circle (2015), directed by Aaron Hann and Mario Miscione, is the latest entry in the horror sub-genre I’m calling “game horror,” one perhaps best exemplified when Jigsaw, villain of the Saw franchise, uttered those now infamous words, “Want to play a game?” In this sub-genre, a group of seemingly random people are brought together by some unknown person or entity and forced to play a not-very-fun “game.” Sometimes the rules are made very clear; sometimes the players have to figure them out as they go along. Sometimes the game really is arbitrary and the players random; sometimes, though, the players are there for a reason—one they must figure out if they want to survive.

“Game horror” originated in 1939 with Agatha Christie’s mystery novel, And Then There Were None (made into a very good film, directed by René Clair, in 1945), in which ten people are invited to an island and are, one by one, accused by their absent host of the crime of murder. The host uses a gramophone record to lay out his guests’ crimes—a direct antecedent of Jigsaw’s recorded messages to the “players” in his games. Needless to say, in And Then There Were None, as in Saw, punishment ensues.

2. And then there were none

Like much horror, game horror also has roots in The Twilight Zone, specifically the 1961 episode, “Five Characters in Search of an Exit” (season 3), in which five characters wake up in a large metal cylinder and have to try to find a way out before they starve to death. This plot anticipates the many subsequent films (Cube, Saw, and Circle) in which characters wake up in a strange place, disoriented, and with no memory of how they got there.

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Posted on October 23, 2015

9 Questions Paranormal Activity: Ghost Dimension Must Answer

Dawn Keetley

The sixth and possibly final installment of the Paranormal Activity series (2007 – 2015), Ghost Dimension, is due out today (Friday October 23)—in limited release—and the word is it will answer all fans’ questions about the franchise.

So, what questions do we have? As it turns out, I, at least, have plenty.

-1. Most pressingly, what do the witches (and Toby) want?

Hints about what the witches and their demonic leader, Toby, want have been slowly doled out across all five films, but they are still not at all clear. They seem mostly to be after boys. In PA2, Kristi’s step-daughter Ali reads something online about how people have been known to make a demonic pact by which they get power or wealth in exchange for offering up the first-born male in their family. The suggestion is that Kristi and Katie’s grandmother (Lois), who is part of a coven of witches, made such a pact and so Toby now wants Kristi’s son, Hunter.

The coven clearly pre-dates Lois, though, since, in PA3, Dennis shows Kristi and Katie’s mother, Julie, a photograph of a witch coven from the 1930s and reads from a book about a ceremony by which the witches would take the sons of pregnant girls, brainwashing them (it’s not clear if they brainwash the boys or the girls) so they remember nothing.

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Posted on October 17, 2015

Knock Knock (2015)- Rape & Revenge?

Dawn Keetley

KNOCK KNOCK: RAPE AND REVENGE?

Synopsis: While his wife and children are at the beach, Evan (Keanu Reeves) opens the door late at night to find two apparently stranded rain-drenched young women—Genesis (Lorenza Izzo) and Bel (Ana de Armas)—at his door. He lets them in, lets them dry their clothes, and calls a car for them. They successfully “seduce” him, however, which begins their sadistic weekend-long “game” with him.

Genesis (Lorenza Izzo) and Bel (Ana de Armas) arrive at the door

Eli Roth’s Knock Knock has been receiving mostly dismal reviews, as well as a few more outraged assessments. Revenge Honey of The Horror Honeys launches an angry attack on the politics of the film, and she nails its more objectionable qualities—its racism and homophobia as well as the way it can certainly be viewed as making a mockery of child abuse. She writes that she considers the film “frontrunner for the worst film of 2015” and that it’s “downright disgusting.”[i]

I get how someone could feel that way about Knock Knock, but then horror films are supposed to push people’s buttons—and “downright disgusting” is a phrase that signals there’s probably something interesting going on.

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