Month: December 2024

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Dead Northern’s Best Horror Films of 2024

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Abigail (Directed by Matt Bettinelli-Olpin and Tyler Gillett) 

Abigail is part heist movie, part monstrous horror. A film of two halves. The first half plays on its own genre stereotypes and known ploys, lulling us into a sense of familiarity, before ripping the curtain back and unveiling an exhilarating ride that ceases to calm right until the credits roll. The film thrives in its fantastic performances by Melissa Barrera and Alisha Weir, who together add a depth of performativity that elevates the entire project. Abigail brings unprecedented levels of bloodied mischievous and anarchy to the screen, making Carrie’s prom meltdown (1976) or the blood elevator scene in The Shining (1980) seem like a papercut worth of gore. Abigail’s bountiful twists and turns, alongside the impressive scoring and unmissable performances, make this one of the best films of the year. 

Longlegs (Directed by Os Perkins) 

Longlegs epitomises fear, with the film exhibiting some of horror’s most frightening imagery to date, mainly in the form of the titular villain himself ‘Longlegs’ – a devil-worshipping man whose energy and appearance are nothing less than nightmare fuel. The enigmatic Longlegs is portrayed by the one and only Nicholas Cage, who enters into the uncanny role with a disturbed naturalness. Despite Longlegs’ strange appearance, the costumery of his garb, personhood and appearance is not entirely alien, with his expressions still resembling some form of a person. It is this precise aura of realism entwined with absurdity that makes Longlegs a film steeped in an uncanny atmosphere. Fantasticality combines with the monotonous every day to create a horror that lingers with the viewer long after watching. 

Kill Your Lover (Directed by Alix Austin and Keir Siewert) 

Kill Your Lover portrays deeply seeded toxicity within tainted relationships with a level of understanding and richness that is rare to come by. Exemplifying the portrayal of poisonous dynamics is the film’s stellar effects that take the form of body horror, combined with a touch of sci-fi-like venom and a hint of uncanny viscerality that is both gripping and distressing. 

In a Violent Nature (Directed by Chris Nash) 

Many reviews for Chris Nash’s feature debut commented upon the film’s slowness and its supposed style-over-substance approach. Perhaps the film is ambient-heavy and leisurely in its pacing, yet it is this precise unhurried, tender sense of built-up dread that makes the film the atmospheric, almost hypnotic slasher that it is. The switching of typical slasher perspectives and toning is both refreshing and satisfying, particularly when a plethora of truly gnarly kills are thrown into the mix. 

Oddity (Directed by Damian McCarthy) 

Damian McCarthy’s Caveat (2020) has one of horror’s most terrifying scares, which was so intense, freaky and suspenseful that it seemed the director had peaked. In no way could he top his own debut. However, not only did Oddity go above and beyond, it blew nearly every horror film out of the park with its shuddery, pulse-pounding frights that will have even the strongest of horror fans watching with the lights on (not that I am speaking from experience…). With the combination of an excellently spooky location, mysterious lore and a whodunit-like backbone, Oddity is bound to provoke one hell of a reaction. 

You’ll Never Find Me (Directed by Josiah Allen and Indianna Bell) 

This Australian horror brings new meaning to the word ‘tension’ as we are fed the plot bit by bit, with directors Indianna Bell and Josiah Allen opting for a painstakingly disconcerting breadcrumb approach. The entire film is one whole build-up to a disturbing conclusion, provoking an array of dreaded thoughts as we play detective in getting to the bottom of the film’s devastating conundrum. The drip-feed-esque terror is exacerbated by the film’s single location of a rural low-lit caravan, where the confined, desolate environment allows for the unnerving tension to be heightened to new extremes. 

Woman of the Hour (Directed by Anna Kendrick) 

Regarding the context of genre capacities, Woman of the Hour does not cast itself as a horror film, however, anyone who has bared the ‘parking lot’ scene knows that this anxiety-inducing story is a lesson in dark cinema. Actress Anna Kendrick is both in front of and behind the camera in this retelling of serial killer ‘Rodney Alcala’ (also known as ‘the dating game killer’ due to his winning appearance on a dating show). Despite the sensitive origins of the narrative, the film is not exploitative of the heinous acts of Alcala, with the film instead showing the true barbarism of his crimes. Kendrick is joined by actor Daniel Zovatto who portrays the slimy, wretched killer in all of his evil ways, which gives credence to him being a perpetrator, not an idol. Woman of the Hour is a crime adaptation done respectfully and rightfully. 

Milk and Serial (Directed by Curry Barker) 

Milk and Serial is independent cinema at its finest, showing the capabilities of just an idea and a camera, forging large budgets, additional crew, expensive studio equipment and top locations. The film stars Curry Barker, who also serves as the writer, director, producer, composer, cinematographer and editor. This straight-to-YouTube horror appeared on the streaming platform via Barker and co-creator Cooper Tomlinson’s channel ‘That’s a Bad Idea’, which typically posts sketch comedy skits and short films. Part of the film’s effectiveness stems from its sporadic release. The only marketing was self-promotional posts on social media platforms from the likes of Barker, yet the film, which is essentially a long YouTube video, has amassed over one million views, alongside glowing reviews from major media outlets. Milk and Serial is a film replicating the new age of filmmaking that thrives in the grassroots approach to creating cinema that stands alongside wide releases. 

The Substance (Directed by Coralie Fargeat)

Body horror has never looked so good in Coralie Fargeat’s The Substance, starring Demi Moore and Margaret Qualley. The Substance is powerfully symbolic in its thematics, with the film reflecting on the consequences of obsession and addiction over beauty, particularly the evolution of one’s beauty over time. These dramatic, figurative elements are unveiled slowly as the film unravels, with the conclusion piecing together all of the gruesome tidbits portrayed throughout the film, leading to a ghastly, heinous ending that is shocking, unsettling and marvellously sick. 

Heretic (Directed by Scott Beck and Bryan Woods) 

Heretic stirs many questions that range from the philosophy of belief systems and religion to the strange psyche of the human condition. Yet the most prominent thought to arise from this provocative film surrounds Hugh Grant’s previous missed opportunities as a horror performer. If religious horror seems overdone, simply watch Heretic just for Grant’s unbelievably macabre role! Heretic’s cryptic narrative and uneasy atmosphere melt together to form a horror steeped in layers upon layers of mystery, chaos and hectic emotions that make it one of this year’s most interesting pieces of cinema. 

All This Time (Directed by Rob Worsey) 

All This Time is a unique spin on a gothic tale that thrives on a groundhog-like cyclical nature where the consequences of time enforce a sinister sense of being trapped within the most devastating and haunting of nightmares. The dreaded emotions of confinement and anxiety fuse and create a film that is a testament to independent cinema. All This Time is an enigma in every way possible, with the film being a true slow-burn right down to the bone. 

Speak No Evil (Directed by James Watkins) 

Christian Tafdrup’s Danish horror Speak No Evil (2022) erupted onto the horror scene like a fireball, picking up accolades and nothing but positive reviews. However, there was a collective eye roll when only a year later it was confirmed that there would be an American remake. Yet, by some strange turn of events, the remake surpassed every expectation and ended up being an excellent recreation. Speak No Evil nailed the excruciating frustration felt in the original, alongside the grand reveals and scenes of disturbed unease, all with a sense of originality that gives hope to the future of contentiously received remakes. 

Strange Darling (Directed by JT Mollner)

Strange Darling is a remix of linear filmmaking in the best way possible, subbing a coherent narrative for something much more surreal, twisted and utterly absorbing in all of its complexity. Joining the feverish assembly of events is the film’s stylish aesthetics and looks that resemble the lurid, boldness of giallo horror, but with a neon spin, emphasising the daringness of the entire movie. 

Cuckoo (Directed by Tilman Singer) 

Hunter Schafer excels in this mind-warping horror that is akin to that of a contorted circus of outlandish disarray. The film’s overall composition resembles a kaleidoscope of terror, with the villainy of the film being so far-fetched and ridiculous that it makes the entire premise absolutely bonkers. Cuckoo is 102 minutes of pure devilish fun that will certainly hold up for many rewatches. 

Late Night with the Devil (Directed by Cameron Cairnes and Colin Cairnes) 

David Dastmalchian excels as late-night television host Jack Delroy, with the actor adding the necessary pizzazz and flair needed for such a forefront role. The film takes all of the best elements of occult cinema, from possessed youths through to religious cults, and dials them up to the max. Late Night with the Devil’s storytelling device is presented in the form of a lost broadcast from a fictional 1970s talk show, which makes for an immersive, gripping journey from start to finish. 

Terrifier 3 (Directed by Damian Leone) 

Everyone’s favourite clown returns in Damien Leone’s highly anticipated Terrifier 3, which is just as gory and stomach-churning as the rumour mill purported. The Terrifier films are brilliant because they do not know when to stop, they will just keep pushing the limit with each scene, with the third and latest entry being the most daring one yet. Complimenting the visceral experience is the equally as fleshed-out plot that continues with the lore developed in its predecessor, trickling a hint into the exciting future that Terrifier has to offer. 

MadS (Directed by David Moreau) 

MadS is nothing less than riveting, with the film being a single 90-minute long take with no breaks. The characters and events change and evolve, yet the camera does not take a single cut. Commenting from a technical point alone, MadS is a feat worthy of extensive praise, but director David Moreau refuses to rely solely on the sheer tactility of the one-shot approach, as the film is equally as wild through its tonality and plot points. 

Red Rooms (Directed by Pascal Plante)

Quite possibly the most underrated gem of the year is Pascal Plante’s Red Rooms, a psychological horror that exposes the morality of obsession and the capacity of self-destruction to appease the curious mind. Where Red Rooms reaches its pinnacle of effectiveness is within its intelligent displays of the film’s central spectacle and how it handles a rich, broad issue surrounding the dark side of media. 

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Retrospectives Reviews

Retrospective -Tales from the Crypt (1972)

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The infinitely popular and highly respected Tales from the Crypt is a cinematic treasure whose history and legacy is a potent example of how horror films can last for generations and still remain as culturally influential as ever. This quintessential British horror is based on the EC comic series of the same name, which ran for twenty-seven issues between the early 1950s all the way through to 1955. The magazine was known for its ghoulish yet beautiful artwork and darkly humorous tales that captured every monster-mania story from whodunits and vengeful killings to ghosts and cursed familial clans. The enigmatic world of comics is infamously difficult to capture on screen, and yet director Freddie Frances manages to bring the pages to life in this 1972 classic. 

The filmic adaptation is structured as an anthology piece, chronicling five segments, which are all wrapped up by an overarching narrative. This larger connecting story follows a group of five strangers who happen into a dusty, haunting layer where the mysterious and magical Crypt Keeper (Ralph Richardson) tells them a story of how they will all meet their fatal end.

The first story begins with how a flashy woman, Joanne (Joan Collins) kills her husband (Martin Boddey) for his hefty life insurance payout before she comes under attack by a blood-thirsty killer dressed as none other than Mr. Claus. The second story follows married man Carl (Ian Hendry) and his secretary/mistress Susan (Angela Grant) who suffer through a disturbed case of retrospection and foreshadowing allegories just as they meet their demise. The third tale features the fate of James (Robin Phillips), an aristocrat who takes it upon himself to drive an older man, Arthur (Peter Cushing) to his death.

Little does the supposed nobleman know that Arthur dabbled in the occult. The penultimate segment closes in on businessman Ralph (Richard Greene) and his wife Enid (Barbara Murray), who undergo an awful fortune at the hands of their greed and foolishness. Last but not least is Major William’s (Nigel Patrick) ghastly end as he is struck down with a vengeful death by the impoverished members of his own care facility after they tire from the man’s cruel treatment.

These rich and dramatic narratives are the reason why Milton Subotsky fell for the series. Subotsky is better known for being one-half of the founders of the legendary British production company Amicus Productions. In their heyday, Amicus were known for their horror movies that thrived in stylish aesthetics and anthology structure, with their filmography often being compared as a previous rival and retrospectively as somewhat of a ‘compadre‘ to Hammer Studios. Subotsky’s adoration for the story was enough to convince business partner Max Rosenberg to green light production, leading to the soon-to-be hit being filmed at Britain’s own Shepperton Studios. 

Tales from the Crypt captivated from the very start with the film being both a commercial victory and a success amongst the film critic scene. As it stands, Tales from the Crypt remains as one of Amicus Productions’ most profitable films. One of the factors behind the film’s immediate triumph was the narrative’s dazzlingly elaborate, multifaceted and eerie nature. 

The moralistic undertones are a key element in defining the film. If it weren’t for the various cautionary tales that clearly distinguish their own lesson and principles, the film would not have the same beloved, urban legend-like quality to them. Tales from the Crypt recreates short, traditional stories that in some way or another have been passed down to us for centuries. The anecdotes surrounding greed, recklessness, selfishness, lack of empathy and so forth all establish a sense of poetic justice. In other words, the film mimics karmic retributions, adding a gravity to the plot that reinforces the ambiguous enigma surrounding the Crypt Keeper himself and his treasure-chest-like book of the evilness behind the human condition. 

As it stands, the film is a horror landmark, reigning supreme at the top of many movie-goers ‘must-see’ lists. The film has been donned as a trailblazer in British cinema, with the narrative’s pivotal cynicism and coldness speaking to the nation’s brilliantly nihilistic, dark humour that really is a one of a kind. If the lasting positive reviews were not enough, the film also sparked a cinematic multiverse-esque franchise that tied in an entire television series (Tales from the Crypt [1989-1996]), a radio series (2000), a sequel – ‘The Vault of Horror’ (1973), followed by further films ‘Demon Knight’ (1995), Bordello of Blood (1996), and ‘The Ritual’ (2002). 

Tales from the Crypt epitomises the sinister joy that Christmas horror brings, from the evil Santas, to the morbid deaths surrounded by a strange, macabre and obscure sense of reflectiveness. Last but not least, the film is brimming with the talents of many, particularly the bold dramaticness of Joan Collins playing a murderous housewife, followed by Peter Cushing, who excels in every manner – not that this is surprising at all! The superb aesthetics, theatrical nature and uncanny tales from the Crypt Keeper all make for an excellent, no matter how many times you may have seen this brutal, Yuletide gem. 

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Categories
Retrospectives Reviews

Retrospective – Black Christmas (1974)

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Bob Clark’s 1974 classic, Black Christmas is undoubtedly one of the most beloved Christmas horrors, a bonafide slasher must-see and more often than not hailed as a true genre forefather, cementing the tropes we all know and love today. To phrase it simply, Black Christmas is an exceptional feat. 

The chilling urban legend, often coined as “The Babysitter” or the more plot-revealing “The Babysitter and the Man Upstairs” is a campfire essential, the kind where a torch is held under the chin, creating ghostly shadows as the terrifying story bleeds out from the speaker. Its gravity is palpable, which Clark so impactfully captures within the plot of Black Christmas, based upon this iconic tale. Black Christmas opens with a Sorority house hosting a small soiree before the night is interrupted when Jess Bradford (Olivia Hussey) answers the phone to a disturbing caller, grunting obscenities. This is not the first time the unwelcomed caller has rung, earning himself the sorority-granted nickname “The Moaner”. Distressed by ‘The Moaner’s’ continuous threatening mumblings, student Clare (Lynne Griffin), retreats upstairs to pack for the upcoming holidays, however, she is soon suffocated to death by an unseen man lurking in her wardrobe. This first domino of Clare’s murder sets off a chain reaction of pure mayhem as the killer strikes again and again. 

Black Christmas’ prototype-like properties for horror cinema vary from the intimate cinematography, all the way through to the ‘final girl’ theory. Beginning with the visuals, cinematographer, Reginald Morris continuously plays with the film’s voyeuristic tones, whether that be through the recurring point of view shots, or the positioning of the camera to show the characters from the perspective of ‘the other’; think of long drawn out shots of the camera peering at the characters through a window, or static scenes of a character going about their business, with the camera lurking from behind an object, replicating a prying, hiding gaze from an antagonistic force. 

It is these sinister, foreboding visuals that were replicated in the likes of ‘Deep Red’ (1975) ‘Halloween’ (1978), and ‘Friday the 13th Part II’ (1981). Peeping into the privacy of others and watching in wait are common tropes that were not ‘invented’ from Clark and Morris’ work in Black Christmas,  but it was one of the kickstarter’s that forged an unforgettable flame that remains to this day the initiator of some of cinema’s most terrifying scares. 

Further elements that don Black Christmas as an iconic exhibition of genre cinema are its genuinely thought-provoking and intriguing politics that extradite the horror of reality and place it against an unnerving, tinsel-decorated background. Whilst the dramatic undertones have always been present within the reception that the film received, it is noticeable that over the fifty years (!) since its release, Black Christmas has been acknowledged as quite the feminist piece.

Professor Carol Clover cemented the idea of a ‘final girl’ in her 1992 book ‘Men, Women and Chainsaws’, with her work examining this idea of the surviving female in slasher films, a character that she describes as the one “who is chased, cornered, wounded; whom we see scream, stagger, fall, rise and scream again”. She is the one who lives to tell the tale, and in the case of Jess Bradford (alongside all the other established final girls), she is the catalyst that blurs the screen and the viewer personifies a sense of contagious empowerment and enforces a sense of active agency. 

Latching onto this string of agency is the film’s exploration of bodily autonomy. A subplot of the film concerns Jess’ pregnancy and her possessive boyfriend Peter’s (Keir Dullea) reaction. Whilst Peter sings the positives of the situation and how the pair should settle down and start a family, Jess expresses her anxieties over the citation, leading to a receptive conversation about autonomy that is still ignited as a topic towards the film to this day. As such, Black Christmas is infused with an autonomy-tinged undercurrent that speaks to the entirety of the narrative.

To digress, the film was released one year after the landmark event ‘Roe v. Wade’ (1973), which by a Supreme Court decision dictated abortion should be legalised across the United States, formed upon the basis of the constitutional right to privacy. Incorporating a current subject into a narrative structure, only to forgo its significance is a disservice to the weight of whatever situation is at hand.

What makes Black Christmas still significant to this day is that Jess and Peter’s subplot did not fade into the midst, the story properly took hold of the matter and saturated its gravity into the film. For instance, Jess’ internal conflict is voiced with a maturity that does not deem her ‘irresponsible’ for wanting to terminate her pregnancy, nor bound to the patriarchy for wanting to keep the child. Black Christmas allows Jess room to breathe as a character, and to be morally multifaceted. The nuanced exploration adds a certain depth to the film that aids its transcendence as a true classic.

The slasher genre is ballooned with an array of treasured films including but not limited to: ‘Scream’(1996), ‘Friday the 13th’ (1980), and ‘A Nightmare on Elm Street’ (1984). Alongside this is a barrage of slashers that do not hold a flame to the key players, the ones that slipped through the cracks, and for good reasons why. To create a meaningful slasher there need to be the obvious, blanket positives across all films – a soundtrack with a dramatic flair that adds buoyancy to the tension, interesting story hooks that drop intriguing twists and turns, and a form of memorability that typically manifests within the main villain, often a masked, cunning and nefarious being. Black Christmas, ticks all of these boxes whilst still maintaining a unique, savviness that allows it to be a jolt to the expected elements, even on a contemporary watch. 

Unlike the famed cloak-shrouded, claw-gloved, hockey-masked monsters of slashers (with goodwill, we here at Dead Northern are massive admirers of the mentioned villains), the primary antagonist in Black Christmas, later known as ‘Billy’ (Nick Mancuso), is largely physically unidentifiable, with his motives, nature and complexities also being concealed. Billy’s anonymity is a large part of the film’s disturbing nature, with him not only naturally gaining an omnipresent aura of terror, but also an air of uncertainty as to how his reign of terror is resolved. There is no unfolding backstory over the whole course of the narrative where bread crumbs can be left for his capture, nor is there a resolute understanding of what he wants, the end goal, and what can make him stop. He is a force of chaotic and sporadic violence that can taunt anyone and everyone. 

The film’s conclusion nods to Billy still being on the prowl, despite the incessant ploys, fights and will to put an end to his madness. Billy’s unrelenting pursuit is demonstrative of Black Christmas’ legacy in cinema. The film marks the top of many slasher “listicles”. Its structure catalysed the subgenre that we know and love today. Black Christmas has spawned a desirable endowment to horror, with the film even spawning two further entries with the quintessential 2000’s ‘Black Christmas’ (2006), and the not as popular ‘Black Christmas’ (2019). Fans even joined together to make a mini feature titled ‘’It’s Me, Billy: A Black Christmas Fan Film’ (2021), which was followed by the sequel ‘It’s Me, Billy Chapter 2’ (2024). 

Bob Clark’s masterly composition of a Christmas-themed slasher is a seminal work that has stood the test of time for fifty years, with its impact surely lasting many more decades. The film is an emotionally complex touchstone of precisely what a festive, bloodied yule-tide bonanza should be – dark, mysterious, contemplative and a celebration of all things horror.

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