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Reviews

Posted on May 18, 2016

The Devil’s Woods (2015)

Dawn Keetley

In the Irish folk horror film, The Devil’s Woods, four friends (Keith, Jen, Jay, and Katie) head from Dublin to a music festival in the country, with the intent of camping in the woods. On the way, they run afoul of some unfriendly locals in the wonderfully-named local pub, The Hatchet Inn, and then, once in the woods, they are inexplicably terrorized by strange figures in masks.

Here’s the trailer:

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Posted on May 11, 2016

Ben Wheatley’s High-Rise: Pretty but Empty

Dawn Keetley

Synopsis: Although Tom Hiddleston is brilliant as its shiny, empty protagonist, High-Rise is tedious, pretentious and, well, empty.

I am an avid fan of Ben Wheatley’s Kill List (2011) and so was eagerly awaiting his latest film, High-Rise, which is based on J. G. Ballard’s 1975 novel of the same name. I was sorely disappointed: High-Rise is a pretentious and pointless film. It somehow manages to be heavy-handed in its attempted allegory and empty of any actual meaning. It was boring; I hated every single character; and I found myself asking every few minutes why I was still watching.

High-Rise begins at the end, with its bloodied protagonist, Dr. Robert Laing (played very effectively by the talented Tom Hiddleston), roasting a dog on top of a high-rise apartment building in some faceless urban landscape. The film then backtracks to the months of chaos and violence that ravaged the apartment block—spurious class conflict enflamed by the perpetual confinement of the high-rise. Indeed, the best part of the film may be the towering figure of the building itself, which is all-encompassing: we only ever see fleeting and partial glimpses of the world beyond, and that exterior landscape only ever appears in the frame with the high-rise (one part of the film I did love, actually). Read more

Posted on May 8, 2016

Holidays (2016)

Dawn Keetley

Holidays, released in April 2016, is a horror anthology featuring eight short films (which I’ll list with directors at the end). Since I’m not a huge fan of anthologies, I was surprised at how much I enjoyed this one—and that’s in large part due to the strong narrative continuities that bind the individual films together. Collectively, they (1) illuminate the often primitive violence that still lurks beneath our holidays rituals; (2) showcase the power of body horror; and (3) make strikingly clear that a major gender transformation is not happening but has already happened in horror.

(1) Three of the films explicitly take up the rituals surrounding some of our most vaunted holidays, now more often than not papered over with Hallmark cards and polite, well-coiffed brunches in expensive restaurants. Read more

Posted on May 6, 2016

S. A. Bodeen’s The Detour—Including Thoughts from the Author

Dawn Keetley

I’ve read a fair amount of young adult fiction of late, most of it with a leaning toward the horror genre (not surprisingly). The Detour by S. A. Bodeen, published in 2015, is one of the few that has really stayed with me.

After thinking about it—on and off—for several days, I realized that part of the reason the novel wasn’t letting go of me was that it featured a distinctly unlikable protagonist. The Detour also raises important questions that (even more importantly) are not resolved and perhaps don’t even have clear answers. The Detour thus stretches what can sometimes be the often rather suffocating confines of YA literature, with its firmly drawn moral boundaries and clear resolutions. Read more

Posted on April 20, 2016

13 Cameras Review (2015)

Dawn Keetley

13 Cameras is a creepy horror film that invokes a very real threat: surveillance—the fear we are being watched without our knowledge. It happens more often than we might think.

According to one 2009 report, “There are an estimated 30 million surveillance cameras now deployed in the United States shooting 4 billion hours of footage a week. Americans are being watched, all of us, almost everywhere.”[i]

Playing on anxieties that have only escalated in the post-9/11 years, 13 Cameras suggests that we’re watched not only in grocery stores, at work, and on the street, but also at home. Indeed, the film is at its best when it shows exactly how permeable the home is. Read more

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