Horror Homeroom

Posted on September 27, 2017

IT’s Homely Horror: What to Do with a Haunted House

Guest Post

While praising the cast of Andy Muschietti’s 2017 adaptation of IT, A. O. Scott repeats a comment my friends keep saying about the film: it’s old horror hat gone wild. Scott, in his New York Times review, specifically argues that with the advent of CGI in modern horror films comes artistic repetition:

“Movie monsters resemble one another more and more, and movies of distinct genres feel increasingly trapped within the expected.”

Yet, beneath the expected jump scares, the uptick in gore-filled moments, and what some call the over-exposure of the titular monster, IT brings the horror mode under critique. Unlike Scott, I argue that Muschietti is engaging in a rather nuanced play on the stock elements of horror that so bothered reviewers. In short, that feeling of being “trapped within the expected” is exactly the intent of the overt and arguably overused horror in this adaptation. Muschietti’s film turns the conventional images of horror against the audience, forcing us to work through our own expectations operating within the genre. In this way, IT becomes more concerned with how horrific imagery can be used to hide and deflect from the reality it represents.

Posted on September 25, 2017

Maus and the Horror of War

Dawn Keetley

Get Out’s Jordan Peele and Blumhouse Productions’ Jason Blum are not alone in arguing that politics are crucial to the horror film.[i] Spanish director Yayo Herrero’s film Maus had its world premiere at Fantastic Fest on September 22, 2017, and it is a deep dive into the politics of the war in Bosnia and Herzegovina (1992 to 1995), its lingering aftermath, and the current tensions in Europe surrounding immigration and terrorism. Both in his introduction to Maus at Fantastic Fest, and in the Q&A afterwards, Herrero insisted that politics are crucial to horror, that horror is good because of its politics. He also made the point that what is important about Maus is not any particular message, which he resisted stating directly, but the debate that it will stir up. And, indeed it will stir up debate.

Posted on September 23, 2017

Thoroughbreds

Dawn Keetley

Thoroughbreds (USA; 2017) is written and directed by Cory Finley, his first feature film. It began life as a play, but, as Finley was writing it, he told the audience at Fantastic Fest, he realized that he was seeing parts of his story cinematically. So Thoroughbreds became a film starring Anya Taylor-Joy, who plays Lily, and Olivia Cooke, who plays Amanda.

Lily and Amanda are two wealthy former friends (sort of) finishing up high school in Connecticut. They are thrust together when Amanda’s mother pays Lily to tutor her. From beginning to end, the film is about the two girls’ relationship, which flourishes under Amanda’s relentless unconventionality and honesty, as she pushes Lily to be more honest about herself. It doesn’t take long for Amanda to learn that Lily hates her stepfather (Paul Sparks). Does she have reason to hate him as much as she does? Maybe. The film goes to the brink of portraying him as abusive, possibly to Lily, possibly to Lily’s mother, but it stops short and we wonder if maybe he’s just a rather run-of-the-mill jerk. Either way, the amoral Amanda suggests an unthinkable plan to Lily, and the plot then takes a dark turn, wending its way into increasingly unexpected terrain.

Posted on September 20, 2017

Where to Start with Silent Horror Films

Guest Post

Everyone knows the image: a bald, pale figure with impossibly long fingers rises out of his coffin. That’s of course Nosferatu, one of cinema’s great horror icons. Silent films are such a part of our culture that we can recognize so many moments from them, even if we haven’t seen a single movie. If you’ve ever wanted to check out silent horror films but were unsure of where to start, this is a list of the ten most representative films of the era. Made across two continents and two decades, these touch on everything from slashers, to the supernatural, to body horror.

As of this writing, most of these films are easily available on YouTube, but the best place to watch them is through one of their many DVD reissues. Silent films often get a bad rap simply because people don’t have access to prints that aren’t fuzzy, jumpy, and incomplete. That said, you really should watch these movies any way you can. They’re not just an educational look at how horror cinema started. They’re also scary as hell.

Posted on September 17, 2017

Aronofsky’s mother! Unabashed Misogyny

Dawn Keetley

This post contains spoilers; I thought about it long and hard but was unable to write about mother! without discussing the ending.

Darren Aronofsky’s most recent film was preceded by a suitably vague trailer that quite effectively, as it turned out, disguises what his film is actually about.

And much of the film, like the trailer, is intriguing because it doesn’t give away what’s going on, what kind of film mother! is. It trades in many horror film conventions, raising all kinds of expectations: there’s a couple isolated in a house, each with a mysterious past; there’s a house that seems itself to be sentient, alive; there are uninvited guests who quickly turn hostile (is this a home invasion film?); and there’s an uncanny pregnancy (Roman Polanski’s Rosemary’s Baby is one of the principal cinematic touchstones of Mother!). Jennifer Lawrence does a great job of playing the standard “haunted house” protagonist, especially after she becomes pregnant, a woman who may or may not be seeing what’s actually there, may or may not be experiencing hallucinations. Indeed, for much of its run-time, mother! seems like a gothic horror film, a subgenre that is notable for featuring strong women and feminist themes.