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Reviews

Posted on July 9, 2020

Relic Brilliantly Portrays the Horror of Dementia

Dawn Keetley

Relic (2020) is a profoundly disturbing Australian film that tackles the horror of aging more effectively than any other film I’ve seen. Indeed, it exemplifies how horror film as a genre is uniquely adept at exploring—at making its viewers viscerally feel—the things that really scare us.

The first full-length feature for director Natalie Erika James, who also co-wrote the film with Christian White, Relic features an astounding performance by Robyn Nevin as Edna, an elderly woman living alone in a large house and suffering from worsening dementia. She wanders her house, which is filled with tangible signs of all her memories, and yet she struggles to remember things—who the people are in her photographs, whether they are real or not, alive or not, and even who she is: the camera finds a label on which is written “My name is Edna.”

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Posted on July 8, 2020

The Beach House: Contemporary Climate Crisis Horror

Sara McCartney

For all that any movie even vaguely about contagion and isolation will have special resonance in the Coronavirus era, I’ll spare you the topical commentary on The Beach House. This isn’t a new entry to the canon of outbreak horror. What The Beach House aims for instead is to be a Night of the Living Dead (George A. Romero, 1968) for the climate crisis, as four unsuspecting vacationers face an extinction event, complete with an homage of radio updates. Director Jeffrey A. Brown serves up a beautiful apocalypse, but a tonally and structurally imbalanced story.

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Posted on July 2, 2020

In Search of Darkness: A Nostalgic Celebration of 80s Horror Cinema

Guest Post

Coinciding with the current renaissance of American horror cinema, we’ve seen more interest in horror documentaries. Within the last two years alone, Eli Roth’s History of Horror (2018) and Horror Noire: A History of Black Horror (2019; see the Horror Homeroom review here) both released to critical acclaim, and now we have the collector’s documentary In Search of Darkness: A Journey into Iconic ‘80s Horror (2019), written and directed by David A. Weiner, to add to the mix.

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Posted on June 29, 2020

Scream, Queen! Review

Sara McCartney

Around this time last year, the Met Costume Institute was displaying its exhibit on camp, sparking explainers and podcast episodes and angry rants (the last one from me) about just what camp is exactly. I thought about it some more while watching Roman Chimienti and Tyler Jensen’s Scream, Queen! My Nightmare on Elm Street (2019), and here’s what I’ve got. Camp is the reclamation of something embarrassing or perceived by others as embarrassing. It is the amazing knack queer people have to transform shame into joy and survival. Scream, Queen! is the story of how Nightmare on Elm Street 2, once an embarrassment to its franchise and the career of its then-closeted gay star, Mark Patton, became beloved by fans and a launching pad for Patton’s activism.

The 1985 sequel to Wes Craven’s slasher smash hit, Nightmare on Elm Street 2 is the rare slasher film with a Final Boy. The hapless Jesse, played by Mark Patton, is not merely Freddy’s intended victim but his entry point into the real world as he strives to take over Jesse’s body. More a possession film than a typical slasher, Nightmare on Elm Street 2‘s Freddy functions as an unlikely metaphor for repressed homosexuality. Read more

Posted on June 26, 2020

Followed: A Clever Use of Found Footage and a Smart Critique of Influencer Culture

Guest Post

Ever since the massive success of 1999’s The Blair Witch Project, found footage has been a staple of the horror genre. Even George A. Romero experimented with it in one of his last (and also criminally underrated) films, Diary of the Dead (2007). Yet, now, more than 20 years after The Blair Witch Project, the subgenre has become stale. The grainy, shaky shots have become cliché. Even Blair Witch Project became such a part of the zeitgeist that it was spoofed mercilessly. At this point, for any director and screenwriter to use found footage as a technique, they better do something innovative. Cue Followed, the directorial feature debut by Antoine Le, written by Todd Klick. The film’s uniqueness lies in its method of storytelling. Followed’s narrative is told through vlogging, and by using this method, the movie updates the found footage technique to reflect and comment upon influencer culture. It’s a smart take on what has generally become an exhausted subgenre. The plot unfolds click by click, through a series of vlogs sequenced on a website.

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