- Horror Movie - Horror Homeroom

Posted on November 30, 2015

The Walking Dead: Did the Carol/Morgan Scene Go Too Far?

SPOILERS BEHIND THE CUT

There is an obvious danger in trying to suss out the success or failure of a season of television that has only reached the midway point. Not only are arcs halfway developed, but things we assume to be true often turn out to be something wholly different.

When I initially sat down to write up my assessment of The Walking Dead’s sixth season thus far, I was not nearly as frustrated with the show as some critics. With three near perfect episodes opening the season and a brilliantly plotted, and even more bravely timed, peek into Morgan’s backstory, my criticisms of the show had been largely confined to pacing issues. And then the fight scene between Carol and Morgan aired.

Posted on November 20, 2015

Aimy in a Cage Review (2015)

Elizabeth Erwin

79 mins | Hooroo Jackson | (USA) | 2015

Grade: A+

With lush cinematography and a challenging feminist infused narrative, Aimy in a Cage is unlike any other horror film in recent memory. While there are certainly traditional elements of the genre at play in the film (forced imprisonment, global plague), the narrative is less interested in creating a sense of impending doom and more focused on exploring how perceptions of sanity are dependent upon environment. The end result is a remarkable film that contextualizes adolescent female sexuality in a wholly original way.

Our entry into the story comes courtesy of comic style drawings through which each character is introduced without fanfare. Not only do these drawings set a stylistic tone for the film, but they are an effective callback to the graphic novel upon which the film is based. On the surface, the story is a simple one. Aimy, whose refusal to acquiesce to any of her family’s behavior modification demands, is deemed to be troubled and is forced to undergo a lobotomy of sorts to make her behavior more socially acceptable. Meanwhile, the Apollo Plague, a mysterious and deadly virus, begins to make the national news.

There is an unfair tendency of audiences to equate low budget with low production value but Aimy in a Cage shatters that myth with a visual flair that suggests a Hollywood style budget. Stylistically, the film is reminiscent of works by David Lynch and Stanley Kubrick in that the visuals serve to create a story parallel to the one verbalized on screen. Kubrick, in particular, appears to have been an influence on director Hooroo Jackson, not least in his framing of Aimy’s forced medical procedure: the scene instantly draws comparisons to Alex’s conversion therapy in Kubrick’s famed A Clockwork Orange.

Posted on November 13, 2015

Ruby (1977) Review: Camp Horror At Its Finest

Elizabeth Erwin

Here’s a secret. For as much as I enjoy pedigreed horror films dripping with social criticism, there is nothing quite like an old-school horror film brimming with schlock and fun. Once the domain of the Saturday afternoon movies, forgotten low budget horror films are finding a brand new audience thanks to bootleg YouTube videos and VOD. And so I thought it was time to revisit one of my very favorite horror films of questionable taste: Curtis Harrington’s Ruby (1977).

Coming on the heels of her explosive turn in Carrie, Piper Laurie is luminous as the titular character, a woman trapped by her murderous past. With a borderline camp aesthetic that works because of the character’s showgirl past, Laurie’s performance fuels the atmospheric tone of the film, which is evocative of drive-in horror.[i] By blending a bit of 1930s supernatural dread with a heaping helping of 1940s film noir, Ruby manages not to trap itself in the decade in which it was made. The end result is a film that feels dated but in the best possible way.

Posted on November 2, 2015

The Final Girls (2015) Film Review

Elizabeth Erwin

The Final Girls (2015) directed by Todd Strauss-Schulson is a curious horror film. On the surface it is an homage to all the ridiculous tropes that made 1980s slasher films so irresistible. But lurking beneath this campy homage is a heartfelt sentimentality that works because it is so unexpected. The end result is a horror film that manages to break new ground tonally while still providing the gasp-worthy moments sought after by fans.

Fueled by memorable performances, most notably by the criminally underrated Malin Akerman, The Final Girls features way better acting than we would expect to see in a slasher film. The story revolves around Max, a girl whose recently deceased actress mother is a cult star of a slasher film. When a series of events pull Max and her friends into the fictional world of the cult film, the teens must figure out how to avoid the knife-wielding killer.

Posted on October 25, 2015

Why Horror? (2014) Film Review

Elizabeth Erwin

Why Horror?

Not Rated | 81 min | Nicolas Kleiman & Rob Lindsay | (Canada) | 2014

Sound byte Review: Talking about horror seriously and in a variety of contexts while still celebrating the experiences of fans makes Why Horror? a unique experience for viewers who both enjoy and are repulsed by the genre.

Grade: A-

As someone who writes about horror and has a special appreciation for extreme gore, my sense of discomfort this past summer with the way some fan fiction was handling those perversions (murder, rape, incest, etc.) often tackled in horror was unexpected. And so as I was already beginning to question my own involvement in the genre, I was perfectly primed for the topic of this compelling documentary that seeks to answer why it is that people are drawn to horror. While I can’t say that it revolutionized my thinking on the topic, the film does illustrate the importance of opening up a conversation on why it is that we fear the things we do.

Premiering Friday on Showtime, Why Horror? is an interesting exercise in exploring all the varied reasons why horror resonates with fans. Examining everything from film to art to psychology, this POV documentary works largely because of its commitment to not exploring the genre in a vacuum. What I especially appreciated was the way in which the film wove in discussions of culture and gender to consider the myriad of ways in which horror has the power to impact society. Less in-depth exploration and more personal journey, the film is best suited to those viewers who can’t quite grasp why it is that people would find enjoyment in depictions of explicit gore and violence.