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Posted on December 23, 2020

Resurrecting Pet Sematary

Guest Post

Pet Sematary, at least at the time Stephen King wrote his 2001 introduction, was the most frightening book he’d written, according to the author. He explains that for any parent the death of a child is perhaps the most traumatic event they might ever face. The only thing worse would be if s/he came back to life, not him- or herself. Two major films were made based on this novel, one in 1989, directed by Mary Lambert and a second in 2019 by Kevin Kölsch and Dennis Widmyer.  Resurrection is a frightening idea. It claws out of the ground of religion.

The entire premise of resurrection, to those in the western hemisphere, derives from Christian teaching. Among the many movie monsters, two revenants in particular—the resurrected and the zombie—inspire a special fear. Is it because religion tells us that at least the former is actually possible? Horror derives much of its energy from the fear of death, and the living dead of either stripe have religious origins and cross boundaries that are carefully guarded.

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Posted on December 17, 2020

Ten Classic Movies to Unlock the Uncanny

Guest Post

Seemingly normal, yet subtly menacing surroundings, anticipations of looming evil, the creeping notion of something or someone being not quite right – perhaps you … A new heyday of sophisticated horror, led by the likes of The Babadook, The Witch, Midsommar and Get Out, brings back a cinematic conception which not only predated the horror genre but helped incite it. The uncanny is rising to new screen prominence. Even before Freud wrote his eponymous essay about it in 1919, movie theaters had already begun to capitalize on its captivation. Uncanniness or Unheimlichkeit shaped a number of early European movies which are psychologically twisted and phantasmagoric. Unheimlich is a weird, complex perception, not simply a milder touch of fear. To be unheimlich something has to appear basically nice, comfortable and familiar while at the same time feeling a bit off. Better than listening to explanations of the uncanny is the experience of it. This list takes a closer look at the cinematic roots of the uncanny. Read more

Posted on December 13, 2020

Adam Egypt Mortimer’s ARCHENEMY: Power, Addiction, and Tragedy

Guest Post

Adam Egypt Mortimer’s Archenemy (2020) is the minding-bending, genre-breaking superhero film we need right now.

That is to say, it’s not much of superhero film at all.

There are no monsters to fight, no true villains. It’s not even clear if there is a heroic protagonist. Instead, Mortimer uses his gritty story to talk about the tragic fallout that inevitably follows addiction and the pursuit of endless power.

Archenemy is about disgraced superhero, Max Fist (Joe Manganiello). Fist is a homeless man living on the streets and bartering his grandiose tales of interdimensional heroics for free whiskey. His depression and self-destruction are stalled when a young, aspiring journalist named Hamster (Skylan Brooks) begins following him and documenting his stories and exploits. Their burgeoning relationship becomes a bloody tale of survival when a crime boss targets Hamster and his sister, Indigo (Zoelee Griggs). Read more

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.

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Posted on December 5, 2020

Repressed Sexuality and Guilt in Bly Manor

Guest Post

The Haunting of Bly Manor proves itself to be a true masterpiece in its complexity of characterization. A young American woman named Dani (Victoria Pedretti) takes on the position of an au pair for two young orphaned children at a rural English manor. In a previous piece, I explored how the creators of the show used supernatural possession as a metaphor for the “possession” that happens in relationships. There is, however, an underlying theme that runs parallel to Dani’s discovering her own identity outside of her lifelong romance: her embracing of her own sexuality.

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