- Horror Movie - Horror Homeroom

Posted on July 5, 2017

Don’t Hang Up: Teens and Social Media

Gwen

2016 | R | 83 min | Directors: Damien Macé & Alexis Wajsbrot | Writer: Joe Johnson | UK

Grade: A-

Don’t Hang Up scares some sense into social media obsessed teens.

Synopsis: A few millennial pranksters take crank calls to the next level while trying to achieve internet stardom. They soon find out the hard way that there are very real life repercussions for their actions.

Don’t Hang Up is a really good film. I was super excited to see a horror film that is rated “R” as that in itself has become as likely as finding a unicorn. This film evokes many of the better elements of Wes Craven’s Scream (1996) as well as I Know What You Did Last Summer (1997) combining pranks, poor choices, and a few selfish kids. Remember the opening scene in Scream when Casey Becker gets a prank phone call? Well, imagine that on crack and you have Don’t Hang Up.

Most thrilling about this film is the commentary on social media use. Don’t Hang Up tells a tale of a handful of teenage boys who video themselves making pretty vicious prank phone calls for the purpose of getting “likes” online. When bad things happen, we could superficially assume that their horror-trope indiscretion was exploiting others for personal gain. However, this film is actually much more complex than that. Social media and technology greatly enhance the cat-and-mouse component within this film.

Posted on July 2, 2017

Don’t Hang Up

Dawn Keetley

It says much about Don’t Hang Up that I’m irresistibly drawn to say of it: “It’s Saw meets Unfriended—with a bit of The Strangers thrown in.” What this says about Don’t Hang Up is that it consistently echoes other horror films. Some critics will no doubt say that this makes the film derivative, formulaic. Don’t Hang Up is actually better than that, and the way in which it evokes other films is actually a plus for me. It’s hard (some would say impossible) to create something absolutely new: everything builds on what’s gone before. Don’t Hang Up is creative—original—in the way that creativity and originality most often exist in the world: it puts things that have come before together in some new ways. And that makes it a film worth watching in my book.

The film begins with a group of high school boys making prank calls, which they stream online for the thrill of getting thousands of views. The film’s opening montage cleverly shows how the exuberance and excitement of the prankers is predicated on the suffering of their victims, to which they give not one iota of consideration. Here’s where Unfriended (Levan Gabriadze, 2014) comes in, which is similarly about what happens when teenagers put a video depicting someone else’s misery online. The opening scenarios of both films dramatize the callousness of young people, or the callousness produced by lives lived in large part in the abstracted world of social media . . .or both.

Posted on June 29, 2017

Matt Ruff’s Lovecraft Country: On Horror and Racism

Guest Post

There is much to recommend about Matt Ruff’s Lovecraft Country, published in 2016. It is a book where the premise (monsters are real, but racism is the real monster!), setting (1954 Chicago and environs), form (a series of connected short stories, each taking up a different horror trope), and characters (each of which stars in their own story and crosses over into the others as side-characters) are all reasons to pick up the paperback. Recently, the book became even more enticing following the announcement of an HBO series adaptation produced by Jordan Peele (Get Out) with Misha Green (Underground) writing and showrunning. (You can check out Matt Ruff’s announcement here.) The show has the potential to be the next big thing given the talent involved and the source material, so if you want to be one of those people who invariably claim that the book was better, now’s your chance to get ahead of the pack. Except that might not be the best idea in this case because everything that works here could easily end up working better as a TV show since it only reaches its full potential on the page occasionally.

Posted on June 23, 2017

The Last Broadcast: Christine and Carnival of Souls

Guest Post

On July 14^th, 1974, 29-year old Christine Chubbuck, a TV reporter based in Sarasota, Florida, was helming a seemingly routine newscast when there was a technical hitch. Once the live feed returned to the studio, Chubbuck read the following statement: “In keeping with Channel 40’s policy of bringing you the latest in ‘blood and guts’, and in living colour, you are going to see another first – attempted suicide.” She then pulled a gun out from under her desk and shot herself in the head, dying in hospital several hours later. Footage of her suicide attempt was subsequently passed on to the police. In Killing for Culture (1995: revised and updated 2016), David Kerekes and David Slater discuss Chubbuck’s suicide alongside other notorious instances of “Death in the Media.” They note: “The tape has apparently yet to surface in any form. Despite some claims that footage of Chubbuck’s suicide had once circulated on the internet, there is no evidence to suggest it is there now. Frankly, it is unlikely that such material – any material – would ever surface and then simply disappear from the virtual reservoir” (2016: 355).

Footage of Chubbuck’s death may not yet have surfaced in the “virtual reservoir,” but that fact that it inspired two films in 2016 suggests that her story is one that still resonates. The meta staged “documentary” Kate Plays Christine (Robert Greene) is told from the perspective of an actress preparing to play Chubbuck. My focus here is on the more formally conventional take on Chubbuck’s story, Christine (Antonio Campos, 2016), which dramatizes the months leading up to her death.

Posted on June 20, 2017

Green Room and John Carpenter’s The Thing

Dawn Keetley

There’s an interesting point of connection between John Carpenter’s The Thing (1982) and Jeremy Saulnier’s Green Room (2015), a film about a punk band, The Ain’t Rights who, while playing a neo-Nazi club somewhere near Portland, Oregon, witness a murder and find themselves in serious trouble.

Saulnier has gone on record as loving Carpenter’s work, especially The Thing, which inspired him as a child and which he counts as his favorite Carpenter film.[i]

Not surprisingly, then, when he’s interviewed about influences on Green Room, Saulnier mentions The Thing, but he typically only mentions the earlier film’s influence on his creation of tension within small spaces: “it really is just people talking in a room, he says.”[ii]

There’s another connection, though, that seems minor but that has some suggestive implications.