- Horror Movie - Horror Homeroom

Posted on February 14, 2021

Red Dot – Survival Folk Horror

Dawn Keetley

Red Dot is a Swedish film released on Netflix US on February 11, 2021. Directed by Alain Darborg and written by Darborg and Per Dickson, Red Dot is a hybrid of survival horror, backwoods horror, and folk horror – more specifically, it’s part of a subgenre I call survival folk horror. Other examples include Deliverance (John Boorman, 1972), Eden Lake (James Watkins, 2008), and Calibre (Matt Palmer, 2018).

The film follows Stockholm couple Nadja (Nanna Blondell) and David (Anastasios Soulis), along with their dog Boris, as they decide to head north to isolated Bear Valley to ski, camp, and see the Northern Lights. On the way there, as they stop to get gas, they encounter two hunters who suggestively mock David as a “pretty boy” and eye Nadja, who is Black with a kind of contemptuous sexual aggression. Both David and Nadja are unnerved by this encounter, especially after David sees a gun and a severed reindeer head in the back of their truck. Pulling away from the gas pump, he bumps their truck, leaving a small dent. They drive away nonetheless.

Posted on February 6, 2021

Dr. Black, Mr. Hyde and White Monstrosity

Dawn Keetley

Dr. Black, Mr. Hyde (1976, aka The Watts Monster), directed by William Crain (who also directed 1972’s Blacula) is a brilliant example of the power of Blaxploitation horror. It features Dr. Henry Pride (Bernie Casey), a successful physician and medical researcher. The son of a maid, Pride has managed to work his way into the affluent white enclave around UCLA, but he travels to Watts to see patients at the free clinics populated by the neighborhood’s poor, Black residents. In a more psychological form of return, Pride’s research efforts are directed toward a cure for cirrhosis of the liver, the disease that killed his mother. Pride’s mother worked in a high-class (presumably white) brothel[i] and drank to dull the despair at spending her days “cleaning up the filth.” Desperate to find human subjects on which to test his cure, Pride injects himself with his own drug and turns into a violent white monster, one who returns to Watts not to cure but to kill.

Posted on December 10, 2020

Freaky: His Body, Herself

Dawn Keetley

Directed by Christopher Landon and written by Landon and Michael Kennedy, Freaky (2020) is a thought-provoking and fresh incarnation of the slasher formula. It’s bloody, wonderfully directed, serves up great performances by its leads, and is chock full of references to other slashers. In short, Freaky is a fantastic experience.

As is evident from the title, Freaky offers an R-rated take on Mary Rodgers’ classic children’s novel, published in 1972, Freaky Friday, in which a mother and her 13-year-old daughter wake up one morning to find they have switched bodies. In Freaky, an escaped psychopath on a killing spree, the Blissfield Butcher (Vince Vaughn), stabs heroine Millie Kessler (Kathryn Newton) with an ancient Aztec knife called “La Dola.” They wake up the next morning to discover they have swapped bodies. The plot follows Millie’s attempts to persuade her best friends Nyla (Celeste O’Connor) and Josh (Misha Osherovich) along with crush Booker (Uriah Shelton) that, even though she looks like Vince Vaughn, she is in fact a teenage girl. Once she’s accomplished that, the friends set out to reverse the ritual and restore Millie to her body before it’s too late. Meanwhile, having quickly adjusted to Millie’s body, the Butcher continues on his killing rampage—targeting, in particular, all of Millie’s many high-school nemeses.

Posted on November 24, 2020

Black Mold, Hodgson’s “The Voice in the Night,” and Peele’s Get Out

Dawn Keetley

Black mold is spreading through contemporary popular culture: Mark Samuels’ short story, “The Black Mould” (2011), Jill Ciment’s novel, Act of God (2015), Osgood Perkins’ film I Am the Pretty Thing That Lives in the House (2016), Ben Aaronovitch’s graphic novel from the Rivers of London series, Black Mould (2017), Jac Jemc’s novel, The Grip of It (2017), Mike Flanagan’s Netflix adaptation of The Haunting of Hill House (2018), Travis Stevens’ film, Girl on the 3^rd Floor (2019), the segment “Gray Matter” in Shudder’s 2019 reboot of Creepshow (an adaptation of Stephen King’s 1973 story), and the Australian independent film, Relic (Natalie Erika James, 2020).

Spreading black mold, and death, in The Haunting of Hill House‘s “red room”

In most of these narratives, black mold seems to represent death: black mold sprouts up in the places characters have died or have been killed. Black mold doesn’t only signal individual death, however; it can also tell stories about species death, about the end of the human race. Black mold flourishes in decaying and ruined places of unabated moisture and heat, and the recent surge in stories about black mold is no doubt driven in part by contemporary anxieties about the fate of humans in a changing climate: black mold spreads where and when humans are not. Black mold flourishes in what both Alan Weisman and Eugene Thacker (from very different perspectives) have called the “world without us.”[i]

Posted on October 1, 2020

Best Folk Horror – Off the Beaten Track

Dawn Keetley

As folk horror has steadily become more popular over the course of the last ten years, a canon has emerged –the “must watch” folk horror films. These canonical films are all eminently worth watching—and they begin with what Adam Scovell called the “unholy trinity”: Witchfinder General (Michael Reeves, 1968), The Blood on Satan’s Claw (Piers Haggard, 1971), and The Wicker Man (Robert Hardy, 1973). (Scovell’s 2017 critical study, Folk Horror: Hours Dreadful and Things Strange is required reading if you’re interested in folk horror, by the way.) In the second contemporary resurgence of folk horror, there is already what seems like it might be a new US “unholy trinity.” Robert Eggers’ The Witch (2015) and Ari Aster’s Hereditary (2018) and Midsommar (2019) are already must-see films; Midsommar, in particular, is profoundly influenced by the earlier films, especially The Wicker Man.

As fantastic as these six films are, there is so much more to folk horror. So, throughout the month of October, I’ll be posting works of folk horror—film, TV, fiction—that are off the beaten track. Some of them are hybrids, since folk horror is a capacious category and is often intertwined with other genres (science fiction and the murder mystery, for instance). Some of them are new. Some of them are lesser-known works from the 1960s and 70s. All of them are good!