Posted on April 22, 2016

Day of the Animals (1977): EcoHorror for Earth Day

Dawn Keetley

Day of the Animals (William Girdler, 1977) is a bad (dare I say, so bad it’s good) disaster / revenge-of-nature ecohorror film that screams seventies. Its plot is simple: a group of assorted characters, who shouldn’t be hiking in the best of circumstances, head up into the mountains just as animals start massing and trying to kill all humans—a phenomenon apparently caused by the thinning ozone layer.

There’s bad acting and plot holes as big as those in the ozone layer (not least, after a violent confrontation, one group chooses to continue up the mountain, yet is thereafter shown trekking down, while the other group, which chose to go down the mountain, is subsequently shown hiking up). There’s utterly horrible dialogue and baffling character development—and more than a few offensive comments thrown at the one Native American character. (I won’t even go into how the women are portrayed!)

2. Day of the Animals, JensonThe incomparable Leslie Nielsen (yes, one reason to see the film) plays a character who starts out as a straightforward obnoxious advertising executive, yet before long he mutates into a bare-chested survivalist, screaming into the rain, declaring allegiance to “Melville’s God,” shoving a mother and her child violently onto the ground, trying to rape a young woman (after telling her, “You belong to me. I own you”), stabbing a man through the abdomen with a walking stick, and then grappling (willingly) with a very large grizzly bear. The only possible excuse for this startling series of events might be that he is the lone person affected by the depleted-ozone-layer-induced madness that otherwise affects only nonhuman animals.  You have to make that leap yourself, though, because the film doesn’t. Read more

Posted on April 20, 2016

13 Cameras Review (2015)

Dawn Keetley

13 Cameras is a creepy horror film that invokes a very real threat: surveillance—the fear we are being watched without our knowledge. It happens more often than we might think.

According to one 2009 report, “There are an estimated 30 million surveillance cameras now deployed in the United States shooting 4 billion hours of footage a week. Americans are being watched, all of us, almost everywhere.”[i]

Playing on anxieties that have only escalated in the post-9/11 years, 13 Cameras suggests that we’re watched not only in grocery stores, at work, and on the street, but also at home. Indeed, the film is at its best when it shows exactly how permeable the home is. Read more

Posted on April 18, 2016

Patriarchy and Monstrosity in 10 Cloverfield Lane

Guest Post

Guest Author: Cayla McNally

When I saw 10 Cloverfield Lane (Dan Trachtenberg, 2016) I was stunned, to say the least. Having seen Cloverfield in all its shaky-cam glory in 2008, I wasn’t sure what to expect from this iteration, and I certainly didn’t expect the film to be as feminist as it is.

It tells the story of Michelle (Mary Elizabeth Winstead), who jilts her fiancé, gets into a car accident, and wakes up chained to a wall. She is being held there by Howard (John Goodman) who claims to have brought her to his underground bunker in order to save her life. He also claims that a large-scale attack occurred shortly after her accident, thus making leaving the bunker impossible. His story is corroborated by Emmett (John Gallagher, Jr.), who helped build the bunker and witnessed the attack. However, Michelle is rightfully skeptical, and as the narrative unwinds, the truth proves to be more sinister than originally imagined.

At its heart, 10 Cloverfield Lane is ultimately a story of private and public disaster, of oppression on a micro and macro level, and of the banality of monstrosity. Patriarchy, the practice of disenfranchising and infantilizing women, often with the goal of silencing and protecting them, is – without revealing everything- the true monster of the film. Read more

Posted on April 12, 2016

The Ring Short Cut: “Ever Since That Girl’s Been Gone, Things Have Been Better”

Gwen

One of my favorite things about Gore Verbinski’s version of The Ring (2002) is the bold statements about children expressed within the film. First Dr. Grasnick (Jane Alexander) articulates an understated fact about parenting and later Samara (Daveigh Chase) challenges our worldview of children.  Dr. Grasnick expresses relief on behalf of the town that Samara disappeared never to be found. Discussion about Samara reveals the difficulty of parenting, the fissures that surface in a relationship with the arrival of a child, and the fear of what version of your child will be unleashed unto society.

Ring2 Read more

Posted on April 8, 2016

Karyn Kusama’s The Invitation

Dawn Keetley

I saw Karyn Kusama’s latest film, The Invitation, last November at the Ithaca International Fantastic Film Festival, and it was easily the best film I saw there (and there were some good films!) It’s also head-and-shoulders above Kusama’s earlier foray into horror, Jennifer’s Body (2009).

Michael Gingold of Fangoria introduced The Invitation, saying he thought it was one of the best horror films of the last couple of years. I agree (though I still think the standout horror film of 2014 is David Robert Mitchell’s It Follows).

You can find the trailer here. It conveys the thoroughly unnerving nature of the film:


Gingold also said that the less you know about The Invitation going into it, the better—and I wholeheartedly agree with that too. I (purposefully) hadn’t read any reviews of the film ahead of time, and so I got to experience the disconcerting and disorienting events just as the protagonist does. It’s very difficult to write anything about the film without giving too much away and thus spoiling it, so I guess the two principal things I want to convey here are: (a) see the film; and (b) don’t read any reviews of it before you do—except this one, of course: I promise I won’t slip in any spoilers. Read more

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