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horror

Posted on January 25, 2020

Stephen King’s Endings and the Case for Sentimental Horror

Guest Post

From online discussion boards to quips in the 2019 film adaptation, It Chapter Two, there’s one truism Stephen King fans and critics alike have long accepted: King can’t stick a landing. But I’ve always found the ending of his massive coming-of-age horror classic, It, fitting and, dare I say, satisfying. Trying to tease out why the ending works for me—why I believe it rings true with the rest of the novel and is not simply the tacked-on excuse of a writer out of ideas—became a minor obsession that finally culminated in this essay.

The ending is as follows: In 1950’s America, seven children defeat It, the primordial shapeshifter that most often appears in the guise of Pennywise the Dancing Clown. Grown up, the protagonists realize that It survived, forcing them to face off against the monster once more. After an apocalyptic struggle, they finally destroy It through the power of their friendship. Fairly standard, but the reviews and articles claiming that the ending is pat, predictable, and void of complexity beg to differ. The headline of a review in Vulture more or less sums up these feelings with the claim that “A Sentimental It Chapter Two Needed More Pennywise.”[i] Read more

Posted on January 16, 2020

Academia in Midsommar and Black Christmas

Guest Post

In 2019, horror went back to school in a major way, with a couple of popularly-released films taking on the trappings of academia. Ari Aster’s atmospheric Midsommar takes us to a remote village in Sweden where the residents have sinister plans for the unwitting grad students functioning as tourists. Sophia Takal’s Black Christmas is a remake of the 1974 proto-slasher of the same name about murders in a sorority house, but acts as more of a spiritual successor than faithful adaption.

While these films take dramatically different approaches to horror and the delivery of feelings of unease, they share a certain thematic sensibility. Namely, both movies deal with themes of cults and cult-like behavior, and in doing so draw an interesting comparison between the occult behavior of the villains of the stories and the trappings of higher education itself. In short, the cults in the film hold up a mirror to the conceit of academia in both productions and ask hard questions about the behavior of the characters involved. Read more

Posted on December 24, 2019

It’s a Wonderful Life – and a Horrifying Life

Dawn Keetley

Countless viewers this holiday season will be re-visiting Frank Capra’s classic 1946 film, It’s a Wonderful Life. I did so myself last night –and was particularly struck, this viewing, by the turn the film takes after George Bailey (James Stewart) drives to the bridge, determined to take his own life. This is, of course, where Clarence (Henry Travers), George’s guardian angel, appears and before long decides to show George what the life of Bedford Falls and its inhabitants would have been like without him. For a while, Capra’s Christmas classic turns into a horror film, and, in doing so, it illustrates the enduring meaning and importance of horror film in people’s lives.

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cats eye
Posted on November 7, 2019

Scaredy Cats: Talking What Frightens Us

Elizabeth Erwin

In this special episode of Horror Homeroom Conversations, we’re talking about what movies have scared the hell out of us over the years. From irascible aliens to malevolent ghosts to religious zealots, we’re breaking down our biggest fears and thinking about why it is that we are so drawn to horror.

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Posted on August 16, 2019

Starve Acre & Andrew Michael Hurley’s Unparalleled Folk Horror Fiction

Dawn Keetley

Andrew Michael Hurley’s third novel, Starve Acre, is due out from John Murray on the highly appropriate date of October 31, 2019. Hurley is the author of two prior novels—the critically acclaimed The Loney (2014) and Devil’s Day (2017)—both of which  fall loosely within the ‘folk horror’ subgenre. Fans of Hurley’s first two novels, and of folk horror in general, will be happy to hear that Starve Acre is positioned still more firmly within the folk horror tradition; it is a brilliant interweaving of psychological realism, folklore, and the haunting presence of the supernatural. I would put it in the company of some of M. R. James’s fiction, Daphne du Maurier’s ‘Don’t Look Now’ (1971, and Nicolas Roeg’s 1973 film), Piers Haggard’s The Blood on Satan’s Claw (1971), and Ira Levin’s Rosemary’s Baby (as well as Roman Polanski’s 1968 adaptation).

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