Posted on March 30, 2018

Annihilation, Cellular Degeneration, and the Horror of an Indifferent Universe

Guest Post

When your directorial debut is something as beautiful, trippy, seductive, and amazing as Ex Machina (2014),  you have big shoes to fill.  Alex Garland has surpassed every expectation with Annihilation (2018).  In a world of renewed interest in science fiction and horror (see Mute, The Ritual, Bladerunner 2049, Valerian, etc.) there are a lot of flops (see Mute).  Thankfully, Annihilation is one of the most visually stunning and amazingly-realized science fiction/horror films to hit the screen to date.  As a director, Garland seems to enjoy twisting our understanding of reality.  Annihilation does not disappoint.  The film thrives on terrifying questions regarding the importance of humanity in an uncaring universe.

The story of Annihilation seems simple.  Something falls from the sky and crashes into a lighthouse in an undisclosed location.  After it crash lands, this object begins to spread outwards creating a visual wall, named the “Shimmer.”  Lena (Natalie Portman), Ventress (Jennifer Jason Leigh), Radek (Tessa Thompson), Thorenson (Gina Rodriguez), and Sheppard (Tuva Novotny) are sent into the Shimmer to investigate the cause of the supernatural event and find information that could end its spread outward.

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Posted on March 27, 2018

Fortress and Classroom Horror

Elizabeth Erwin

When people ask me what’s the scariest film I remember from my misspent youth, they’re always surprised when I reference Fortress (1985), a little seen Australian thriller that inexplicably became an HBO mainstay in the late 1980s. Based on a novel of the same name by Gabrielle Lord, the movie centers on a classroom of children and their young teacher, Sally Jones (Rachel Ward), who are taken hostage by a band of homicidal, mask wearing men. With moments of pronounced violence, the film is worth another look by horror fans for the way it leverages its classroom setting to instill fear.

Because horror grapples with the collective anxieties of the time, how a space is viewed by an audience is contingent largely upon the events of the day. For instance, to an audience in the 1930s watching The Lady Vanishes (1938) for the first time, the claustrophobic setting of a train car reads very differently than it does to a millennial audience who may lack a real world understanding for how it feels to travel by train. As a space, the classroom historically represents not only a place of learning, but also a place of security. While this perception has altered radically in the wake of Columbine and Sandy Hook, in the 1980s the classroom did not instantly connote a sense of fear. Read more

Posted on March 23, 2018

Pyewacket and the Consequences of Rage

Dawn Keetley

With his second feature film, Pyewacket (2017), Adam MacDonald is showing himself to be a distinctive director and writer of horror. His films offer spare plots centered on an intense, complicated relationship—a relationship then tested and torn apart by some kind of horrific force. His films are beautifully shot and make the most of the isolation of his characters.

MacDonald’s first film, Backcountry (2014), which I review here, centers on the strained relationship of Alex (Jeff Roop) and Jenn (Missy Peregrym) as they become lost in the deep woods on a camping trip Jenn never wanted to take. An encounter with a large grizzly bear, however, puts their troubled relationship in a very different perspective.

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Posted on March 17, 2018

The Strangers: Prey at Night Is a Travesty

Dawn Keetley

Johannes Roberts’ The Strangers: Prey at Night is a travesty for anyone who watched and loved the outstanding 2008 film, The Strangers, directed by Bryan Bertino. I discuss Bertino’s Strangers here. It’s a brilliant horror film in the pure, enigmatic malevolence of the “strangers,” the simplicity of the plot, and the absolute terror induced by the way the strangers emerge silently into the frame, inside the home they shouldn’t be in. Strangers: Prey at Night is the opposite of all that. Which isn’t to say that, as a film in its own right, it doesn’t have some redeeming qualities.

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