Although harsh, brutal and bloodied, In a Violent Night is calm, akin to a tranquil stillness that calls upon emotive auras and visual renditions of placid yet frightening terror. The essence of bleak tonality combined with the uniquely compelling story, or almost lack thereof, propels director Chris Nash’s visions of a subdued slasher to be one of 2024’s most standout films.
In deliberately typical slasher fashion, the film follows a team of friends lazing about by a crumbled fire tower in the woods, where they discover a locket. However, upon removal, they unknowingly awaken the corpse of Johnny (Ry Barrett), the subject of a local urban legend whose tragic backstory has him searching and massacring until the locket is returned and he can rest once again.
Nash’s direction collages what has become entirely synonymous with the subgenre: a disgruntled yet oddly childlike enemy whose pacing and brutality remain confident and deadly throughout, a dense forestry setting, a foreboding backstory – which embodies some form of tribulation and an array of callous, cold-blooded kills. Throughout the exhibition of calamitous horror, In a Violent Nature manipulates all of the above typicalities to create an exercise in melancholy horror that can be described as a genre spin on the works of Andrei Tarkovsky (Mirror [1975], Stalker [1979]) and Pier Paolo Pasolini (Salò [1975]), or the more contemporary A Ghost Story (2017). The film’s presentation of beloved horror characteristics combined with its cognisance-heavy approach and unhurried pacing enhances In a Violent Nature’s minimalist layout.
The film is void of a soundtrack, with the sound being nearly entirely diegetic and heavy on atmospheric tones reminiscent of the woodsy setting, think twigs snapping, winds cascading through the trees, crisp leaves, chimes of drafts and laps of water flowing. Where scoring is concerned, the film’s limited soundscape speaks to the overall austere proposition that Nash utilises, preferring to cater to a streamlined, bare-bones product of horror. In other words, the dense imagery of thickets, brambles, seemingly endless forest landscapes, and the sparse audio addresses what makes In a Violent Nature so profound. This raw aesthetic, a Spartan approach to showcasing its story, is unique. Indeed, this film rightly so has gained mixed receptions, with many not favouring the quietness, which again is a contentious, bold move from Nash. However, despite varied interpretations, In a Violent Nature is, above all, refreshing.
Despite the film resonating with a stripped-back perspective, it by no means dampens the ferocity of it all. In seeking a slasher, it is expected and arguably necessary for the film to be violent, gory, and graphic – these are critical components of many horror films, particularly the slasher/splatter subset. Rest assured, In a Violent Nature’s restrained aesthetic does not transfer to the many gory kills throughout, with one memorable incident involving a victim’s back being impaled, with their head pulled through their slashed abdomen until their face is now stuck facing out to where their spine used to be, forming a bloodied, vile and disturbing pinwheel of a human! What is most notable regarding the film’s various vicious occurrences is how they are not performed for laughs or absurd grossness. Instead, these attacks are truly unsettling, ruthless and utterly cruel.
Comparisons have been made towards the antagonist Johnny’s demeanour against the likes of Jason Voorhees and Michael Myers, with the combined three all showcasing a barbarically slow walk that looms and slowly progresses towards their prey like the grim reaper stalking their next catch. However, In a Violent Nature is best described when it is not solely compared to the greats, as Nash’s portrayal of a muted character study is very much its own product, just as the Halloween and Friday the 13th franchises are unique experiences on their own. Whilst resemblance to the beloved genre classics is key in some elements relating to In a Violent Nature, overall, the film deserves its own path and reputation, besides its entry into the slasher ‘Hall of Fame’ lineup.
There are continuous metaphors and analogies peppered within the scenes that directly or indirectly compare Johnny’s characteristics, motives and actions as being a replication of nature and all of its nitty-gritty, inhumane features – it’s cyclical and harsh, rabid and selfish, a kill or be killed, destroy or be destroyed world. Yet, somehow, nature is still beautiful. Ultimately, the same dealings precisely describe the entire diegesis of the fantastic In a Violent Nature.
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Picture this: an ordinary day is thrown into pandemonium as gargantuan, near-indestructible creatures descend upon you, waiting to pounce at even the mere whisper of the slightest sound. This is the premise for the previous instalments within The Quiet Place franchise. Whilst this shuddersome concept is by far effective, the novelty of the series’ principles is not far from wearing thin; what else could possibly be thrown into the mix to prolong the film’s lore without becoming tedious? How many times can the same battle come forth? Director Michael Sarnoski might have the answer for that!
A Quiet Place: Day One is a spin-off within the soon-to-be trilogy within the franchise, with the film focusing on a new set of characters in a setting we have yet to encounter. The film takes us on the terminally ill Sam’s (Lupita Nyong’o) journey across a wrecked New York City in the bid to survive. Joining Sam is Eric (Joseph Quinn), a British law student, and Sam’s cat, Frodo (panic aside, he survives the whole ordeal).
As the title suggests, the film’s action begins on ‘day one’ of the eventual apocalypse, showcasing the city landscape in a ruckus as humanity grapples with the worst threat mankind has ever seen, whilst simultaneously having to remain as silent as possible to avoid triggering one of these audio-activated beasts. Consequently, the film wrestles with copious intense scenes showcasing Sam and Eric narrowly attempting to avoid making a peep. One brilliantly tense scene calls to mind where the survivors must dislodge a stuck briefcase from a revolving door without creating an almighty crash. These moments of pure muted silence, coupled with the threat of looming and dooming noise, have viewers sitting on the edge of their seats.
Aside from the narrative structures, Nyong’o and Quinn’s standout performances make Day One’s appeal stand out. They create a powerful duo worthy of their own spin-off cinematic series when shown together. Nyong’o is no stranger to the horror genre with her roles in the Aussie zombie flick Little Monsters (2019) and Jordan Peele’s doppelganger nightmare Us (2019), both laying the grounds for her epic delivery of one of A Quiet Place’s most depthful characters yet. Nyong’o’s performance of Sam is praise-worthy, with her ability to navigate such fragility and horror simultaneously creating a character that is engaging and sensitive but strong enough for the audience to root for the entire time. Adjacent to Nyong’o’s leading portrayal is Quinn’s equally as emotively rich performance of Eric.
Similar to his co-star, Quinn’s talents in the likes of Overlord (2018) and the iconic role of Eddie in season 4 of the hit show Stranger Things (2016-) all set the stage for his appearance of the anxious law student Eric. Throughout the film, the pair of survivors form a unique bond that is empathetically dense as they band together to endure the end of the world, stirring that familiar sense of the emotional impact that has become synonymous with the Quiet Place world without becoming replicative of soap opera dramatics.
All entries of A Quiet Place have faired well, particularly due to this mention of poignant emotional resonance. Whilst this expressiveness is a key value across the films, particularly Day One, many still value the films ability to raise the stakes and create moments of pure terror – think of the opening scene in the first entry or to be repetitive, the equally as intense opening scene in the sequel. As a horror contender, Day One is bountiful in its scenes of nail-bitingly tense creature sequences.
Day One is a must-see, well-executed advancement into the mythology of the Quiet Place domain. The film expands our understanding of these creatures while still leaving that sense of disturbed wonderment that makes the sound-sensitive beasts so formidable.
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The ultimate classic game Space Invaders is often coined the definitive forerunner for horror gaming. Its fixed shooter design and sci-fi scenario generate a legacy that has stood the test of time. The chase and survival aspects involving an alien invasion that gradually obliterates the terrain are, at their root, the core premise for many horror arcade games that came to fruition only a couple of years after Space Invaders arrived.
Haunted House (1982)
The action-adventure game Haunted House made history as one of the first games to use a scrolling mechanism that allowed the screen to be moved as the player moved across spaces. Whilst this tech may be the standard now, 42 years ago, this was a revolutionary factor to gaming that permitted the user to traverse with speed across the game, where they must collect pieces of a mystical urn with powers that are situated across a total of 24 rooms of a haunted house. Along the way, players will be confronted with a mirage of horror mythology from bats to tarantulas, all the way to spooky ghosts.
Castlevania (1986)
Many horror video game fans will remember playing the Japanese classic Castlevania growing up. The game’s absorbing and user-friendly gameplay, coupled with the countless appearances from the genre’s favourite beasts, from the dreaded Grim Reaper to the intimidating Frankenstein’s Monster, are all that make Castlevania a must-play 38 years later. However, while praise is certainly owed to the game’s ‘monsterific’ charm and nostalgia-ridden interface, the most worthy factor of applause is how Castlevania became a benchmark from which future horror games derived. The game did not invent the Metroidvania platform where users can roam an expansive, connected map, but it did aid in the popularisation of these iconic mechanics. Castlevania’s seemingly endless land to traverse in the game creates many instances for battles to ensue and a barrel of horror fun to emerge.
Alone in the Dark (1992)
The 1920s Louisiana setting sees the player trapped in a haunted mansion where supernatural forces run amock. To proceed to the next level, the user must complete an array of puzzles and tasks while evading the wrath of the sinister ghouls. Alone in the Dark took inspiration from the likes of horror auteurs such as the zombie king Goerge Romero and giallo champion Dario Argento. What was quite unique at the time for the game was how the creators used a fixed-camera setup where the 3D character’s actions and events would shine against the 2D backdrop. This mechanical creativity, alongside the dramatic music and ambience, earned the film immediate applause from critics and players alike, with the game even going on to be lauded as the very first 3D survival game in the horror subset.
Zombies Ate My Neighbours (1993)
Zombies Ate My Neighbours delivers on its promises of being precisely what the title indicates, with the plot following two friends, Zeke and Julie, who must rescue their neighbours from hungry monsters created by the evil scientist, Dr. Tongue. The humourous game was not necessarily winning any prizes upon its lukewarm release, but over the years, Zombies Ate My Neighbours has rightly become a bonafide cult classic. The two-player mode, coupled with the archetypal 1990s graphics, continuous references to beloved horror movies and comedic outlook, has made the game a staple.
Phantasmagoria (1995)
Phantasmagoria is a classic adventure horror that features a point-and-click mode of playing that follows the story of a writer who, after moving into an isolated mansion, encounters supernatural forces hellbent on terrorising her. At the time of the game’s release, interactive movie games were all the rage, where live-action characters, footage, and cinema-like sequences were featured throughout the gameplay. Phantasmagoria took inspiration from these features and made a game that can only be described as an interactive horror movie. Particularly for the time, the content was theatrical and screen-worthy, with the game’s script even consisting of over 500 pages. Most of these spectacles were heavy on both violence and sexual content, which garnered praise from audiences who admired the boldness of the game and equal dismay from censors, with some retailers refusing to sell the game due to the graphic content. Despite the hurrah, the game proved successful, grossing over $12 million within its first weekend.
House of the Dead (1996)
The iconic House of the Dead game series first appeared as a light gun-shooter arcade game, which has since gone on to become an entire franchise, equipped with a cinema-adapted trilogy (which is rather notoriously bashed upon). The late 1990s arcade game chronicles the player defeating a horde of zombies made undead by a mad scientist. Much of the initial acclaim derived from the game’s hyper-stylised graphics enriched with over-the-top verve – indicative of arcade-like flamboyance. Ironically, the devil-may-care merryness of the now harmless appearing graphics saw the game being taken to court by the city of Indianapolis in a bid to ban all and any violent video games, citing that House of the Dead was one of the worst of its kind. Retrospectively, the game is now championed for its cultural impact in booming the zombie subgenre at the turn of the millennium, particularly within the popularisation of fast-moving zombies that the game so frequently used.
Out of this World: Sci-fi Explorations
Doom 3 (2004)
Doom 3 acts not as a sequel in the Doom video game series but instead as its own reboot that strays away from its two predecessors, with the third entry forgoing the prior lack of storylines and opting for a more ample synopsis that would eventually go on to determine the game’s impressive acclaim. As such, the premise is more detailed, following a space marine who acts as the force preventing extraterrestrial creatures from entering Earth. The extensive backdrop also furthers the game’s overall presentation, particularly considering that the designers have more richness to play with.
Dead Space (2008)
The premise of a spaceship becoming overrun by undead creatures chillingly known as Necromorphs gathers sufficient spine shivers on its own, let alone the game’s riveting ability to harness the player and figuratively pull them right into the deadly action. In developing Dead Space, the creators took slight inspiration from the likes of System Shock (1994) and its sequel (1999), along with the ever-influential Resident Evil 4 (2005). Despite these games being entirely meritable, Dead Space wanted to abandon the typical run-and-shoot tactics that habitually take the player ‘out of the game.’ The result of this is a third-person perspective game that is genuinely effective and easily provocative of a taut tension that is hard to beat.
Alien: Isolation (2014)
Unlike many entries on this list of games that have since been adapted after their success, as the title suggests, Alien: Isolation did things differently. It is based and set 15 years after the 1979 Ridley Scott film Alien, following Ellen Ripley’s engineer daughter who boards the space station to investigate her mother’s disappearance. The gameplay allows for many abilities and tasks, with the first-person character being able to hide in abandoned lockers, duck under spaces, vent crawl, run ladders and break the line of sight. The freedom of movement remains a big attraction to the game, with the flexibility forcing a heavy immersive intensity where the mystery of the mission and the enemies’ threatening portrayal make for a game that will have the player fixated on the screen for hours upon end.
Fighting the Hordes: Zombies and Viruses
Resident Evil 4 (2005)
In Resident Evil, its fourth output is universally praised as one of the franchise’s best. Maybe it’s the sinister cast of morbid creatures that spring to life throughout the game or the intense gameplay coupled with the fleshed-out characters that make this survival horror game a standout feat. Either way, acclaim is abundant throughout this rip-roaring, frenzied play that showcases a detailed-oriented approach to its camera system, which namely popularised the over-the-shoulder angle that so many players are accustomed to now. It was an interesting take on the land within the game, the player essentially has the ability to immersive themselves into the action akin to the first person shooter view, but additionally have an almost gods view perspective on the action.
Left 4 Dead (2008)
On the surface level, this fierce zombie thriller may appear as yet another zombie riot to join the extremely packed subgenre, but as any player will inform, Left 4 Dead is a powerful, consuming voyage into the horrors of the undead, with the game’s zombies having devastatingly horrific traits that will get hearts racing in no time as you fight for survival. Left 4 Dead truly comes to life when the multiplayer system is utilised. The four-game mode offers a single-player mode, with the other characters being controlled via AI bots, and whilst this play does still elicit a spirited exercise, the game thrives when the four-player mode is enacted, and cooperative gameplay ensues. As a result of the multiplayer mechanics, Left 4 Dead is a classic social game that demands the thrills that come with interactive group sessions.
The Last of Us (2013)
In the scheme of video game adaptions, it is rare to find one that is as universally beloved by seemingly everyone, horror fans or not, video game enthusiasts and ones who have never touched a console. However, whilst prestige is owed to the 2023 TV series, the original source material is even more impressive and epic. Emotionally driven and melancholic in tone is this action-adventure game that follows the remaining survivors after a fungus-fuelled virus has spread amongst the U.S., leaving the landscape barren except for the god-awful mutated creatures and the last of humanity. With its stunning visuals and intense gaming choreography, what truly propels The Last of Us is the strikingly fruitful character development where relationships and bonds are paid detailed attention, creating a meaningful and engaging experience for the player.
SURVIVAL of the Fittest
Condemned Criminal Origins (2005)
This survival, first-person horror game takes a more grounded approach to its plot, focusing on the terror within reality as we follow a detective on the hunt for a serial killer. Whilst the game does slightly tiptoe into the supernatural realm, its nucleus remains fixated on graphic, visceral violence that is true to its real-world aesthetic. The design and theming are noted to be replicative of psychological thrillers including Se7en (1995) and The Silence of the Lambs (1991). As such, the atmosphere is a key component in the game’s success, with the dramatic, stylised aura pairing nicely with the brutally violent hand-to-hand combat that features throughout.
Amnesia: The Dark Descent (2010)
Amnesia: The Dark Descent has only grown in popularity since its release nearly fifteen years ago, with the game’s focus on horrors that lie in the pitch dark, stirring waves of psychological threats. The looming presence of gruesome monsters that lie in the wake is emphasized by the game’s keenness not continuously to show the enemies’ appearance; alternatively, the frights are brought forward by the knowing that these creatures are waiting – it is certainly a situation that will leave you in trepidation. The gameplay itself furthers the vigour of the horror as the lead character, Daniel, is unable to fight off the monsters upon contact, instead he can only escape if they are unable to see him. The sense of hopelessness and unease combined with the dark graphics and aura makes The Dark Descent an unmissable experience.
Darkwood (2014)
Darkwood may initially present itself as a run-of-the-mill survival game, taking place in an eerie Polish forest where the player must make their way out of the turmoil. However, the pulsing terror does not derive from continuous jumpscares which has become somewhat typical of the subgenre, but instead, the looming sense of nihilistic dread is stirred purely by the uneasy atmosphere and threat of the utterly barbaric creatures that appear throughout. Joining the macabre vibes is the detailed gameplay that revolves around a plethora of side quests and missions that add bountiful depth to the mystifying game.
The Evil Within (2014)
Shinji Mikami, the creator of the infamous Resident Evil game began to notice that contemporary survival games no longer scratched the itch of intense battles to escape and survive, instead, Mikami noticed a strong uptake in these games becoming solely action-horrors despite the survival genre label. In a bid to re-transform the scene again, just as he did years prior, he created The Evil Within, a nail-bitingly creepy game centring on secret organisations and the desperate bid to survive such calamity. The fruitful combat scernaios, heaped with the eerie environment propel The Evil Within to be a standout game of the early 2010’s, with the frenzied, gory displays of terror making for an adrenline-filled ride from start to finish. The sheer chaoticness of the enemies and the thoroughly rich plot pump freshness into the survival element of the game, ensuring that each spine-chilling second spent playing is brimming with excitement, nerves and a great deal of fear.
The Quarry (2022)
The fairly recently released The Quarry was almost inescapable for many upon its arrival. Positive reviews were peppered across forums, advertisements were unavoidable, and sales exceeded expectations, which is unsurprising considering the game’s meta-like qualities, brilliantly executed character development and overall aesthetic and atmosphere that hails to many horror fans’ nostalgic acclaim to summer camp nightmares. The plot follows a group of counsellors at Hackett’s Quarry Camp spending their final night at the site. However, any chance of merriment is cut short after supernatural creatures, alongside vicious locals, make their presence known. The game’s interactivity means that all the playable characters can either die or survive, with their life depending on the players’ decisions, creating a multifaceted sense of immersion that raises the stakes. The game’s intense thematics speak to its spiritual predecessor, Until Dawn (2015), with the gameplay and plot exploring that same sense of malicious cruelty and infamous cabin, woodsy setting.
Unleash Your Dark Side: Reverse Horror Games
Carrion (2020)
Carrion belongs to the intricate reign of reverse horror games, which in this case leads the player to take on the role of a tentacled creature travelling through a research facility killing everyone in sight. Carrion is comparable to that of a maze where the game’s map shows a series of twisted and intertwined areas that the player can only access once they have completed a series of tasks. The aesthetics made up of pixel art and the creature’s gnarly design is reminiscent of nostalgia-driven video games of the late 1990s and early 2000s, it is simple and effective, and from a contemporary perspective, it is a refreshing change that allows the player to set aside how hyper-realistic and sensical the game could be and just simply play and enjoy.
Dead by Daylight (2016)
Dead by Daylight is a feast for any horror fan, with the game allowing the chance for players to be either the killer or the victim. This measure of hunter and prey creates a dynamic that allows for the slasher-like plot to entwine itself within the diegesis of the game, with the outcome being equivalent to that of the ‘ultimate slasher’. The story follows a team of survivors who must persist in fighting against a mysterious killer whose goal is to sacrificially impale its victims on hooks to please a macabre presence otherwise known as The Entity. The gameplay teases all by creating ruses where the killer’s and victims’ information both allow for advantages. Whilst the killer has natural power within its antagonism and ability to know where the group’s missions are located and so forth, what the victims have is the ability to switch from third-person to first-person views, creating an all-encompassing perspective where every angle is at the player’s command.
Sea Salt (2019)
Sea Salt is an independent reverse horror game that lives and breathes Lovecraftian aesthetics, with the story set in the late 19th Century in a small seaside village. The players take on the role of Dagon’s army, a sinister god of the ocean who is worshipped by the town as they provide regular sacrifices. However, when the sacrifice runs short, Dagon decides to invade and massacre the village. It is a misconception that all reverse horror games innately create an environment where the victims easily bow to the player’s antagonistic force; Sea Salt demonstrates that this is quite the opposite, with the villagers teaming up to create swarms, wielding weapons and creating massive retaliations that the player can find themselves struggling to defeat. The intense and challenging gameplay is joined by the game’s gloomy appearance that matches the overcast Victorian-esque seaside town.
Screen to Scream: Horror Games from the Movies
Halloween (1983)
Halloween, seemingly many fans favourite autumnal slasher, perked the interest of Games of Apollo employees in the midst of the great video game crash of 1983. The hide and seek device within the 1978 John Carpenter film was a large inspiration for the creators, with the game following a babysitter escaping the presence of an unnamed killer. Whilst the game was titled Halloween, with the poster featuring a large pumpkin (the exact same design used in the film’s poster), along with Carpenter’s titular theme song appearing throughout, the game never indicates that the characters are that of Laurie Strode and Michael Myers. Although the game has fared well over the years, primarily due to the nostalgia, fan-driven culture surrounding Halloween, at the time of its release, the game aided in Wizard Video Games filing for bankruptcy due to the sales. In fact, in the midst of liquidation, the company sold copies of the game with minimal effort, not even labelling the case, instead the edge was simply lined with a white sticker with the word ‘Halloween’ sloppily hand-written on it.
The Texas Chainsaw Massacre (2023)
The Tobe Hooper 1974 classic The Texas Chainsaw Massacre is no stranger to the world of video games, with the first being developed into gaming format in 1983 for the Atari 2600. Forty years after the fact came the revived 2023 asymmetrical-based game which sees a group of 7 victims who must escape the deadly cannibalistic family. The atmosphere, music and pacing, challenges, maps and much more are all a testament to the barrage of amusement this game delivers. It may not be a chilling expedition akin to the paranormal antics seen in other games, yet what Texas Chainsaw does yield is a vibrant, bloodied immersive experience that will keep you hooked for hours as you battle with the unique characters and fight for survival. That specific combination of fear and excitement colluding throughout the various cat-and-mouse situations is amplified by the horror star power behind the characters. Kane Hodder, who played Jason in four of the Friday the 13th films (as well as acting as a stunt coordinator for Texas Chainsaw Massacre III [1993]), stars as Leatherface. Hodder’s expertise in playing formidable forces elevates this intimidating motion capture experience.
Friday the 13th (2017)
Yet another asymmetrical horror game is the ‘slasherific’ Friday the 13th which aids in lingering, expanding and exploring the maddening lore of Jason Vorhees and his brutal killing sprees. The game is built on a semi-open world chassis, where players can investigate the intricate design found within the crevices of Camp Crystal Lake. The game was seemingly made with the interest of fans of the franchise in mind, with the in-game virtual cabin offering a plethora of trivia that peaks into the land of an array of Friday the 13th films. Some of this fandom-orientated trivia includes Pamela Vorhees tapes and Tommy Jarvis tapes – both of whom are some of the franchise’s most acclaimed characters. However, all of the success was short-lived as the game’s servers were closed down in late 2020 due to licensing issues, leaving the game only available online through a peer-to-peer network. Once again, the game was officially delisted late last year, but the game’s creators have endlessly teased future creations.
Evil Dead: The Game (2022)
As with key players in the horror movie landscape, The Evil Dead is familiar with the virtual world, with the 2022 game being the latest in a lineup of 10 games adapted from the lore of Necronomicon. The game primarily succeeds through its callbacks to the iconic world of Ash and the gory demons that he can never seem to escape. The game walks the tightrope of being uncomplicated, providing easy, messy fun where ample weaponry and bloody battles are plentiful; whilst also enacting a full-bodied storyline to prevent the game from becoming too elemental. In other words, the game makes use of simplistic, groovy fun that fits in nicely amongst the expansive Evil Dead universe.
Twisted Mind Games: Psychological Mayhem
Silent Hill 2 (2001)
The lore of the Silent Hill spectrum is part of the entire gaming series’ major intrigue. Metamorphic creatures, gangly beasts and gnarly monsters parade their nasty frightfulness throughout the game, making for a play that is not for the faint of heart. Joining the fantastical yet chilling land of Silent Hill is the game’s bizarre and puzzling premise where the horror is akin to a carnival of circus-like madness, all of which is complimented by its disorienting scoring and sound that is reminiscent of disturbed, discordant drones that cling and clang to produce the ultimate unnerving experience. Further propelling Silent Hill’s second entry into gaming stardom is the development of the cinematic aesthetics that made its predecessor successful. The game is brimming with psychologically rich storylines, immense visuals and that whopping grandiose soundtrack that is synonymous with the game.
P.T (2014)
P.T. was developed by none other than gaming auteur Hideo Kojima (Metal Gear [1987]) as part of a collaboration with Guillermo del Toro. P.T. has ties to the Silent Hill series, mainly as the game was developed as a teaser for the now cancelled Silent Hills. However, as Kojima has expressed, P.T. is essentially its own standalone game that does not piggyback off of the Silent Hill franchise. Upon its release P.T. soared the market with unbelievable popularity, it became known as the must-have game, the unmissable experience. The visuals were terrifying, the tension was immaculately built and the plot of a labyrinth-like haunted corridor that the player must escape, all made the game a roaring success. That was until it was deleted from the PlayStation Network less than a year after its release due to the cancellation of Silent Hills. Uproar ensued as P.T. was its own game, leading to various fans remaking the game multiple times, only for it to be taken down shortly after.
Omori (2020)
Omori is an independent, Kickstarter-funded game based upon director Omocat’s webcomic ‘Omoriboy’. The concept is similar to that of role-playing games of Japanese origin, which often focus on strong character development and fleshed-out background stories. The overall plot follows Sunny, a teenage boy, and Omori, his alter ego. Throughout the game, the user delves into Omori’s fantasy world, as well as Sunny’s real world. The theming and tone throughout the gameplay between the two lands deal with darkly dramatic issues including mental trauma and suicidal ideations.
Paranormal Activity
Fatal Frame II: Crimson Butterfly (2003)
The Fatal Frame series, also known as ‘Project Zero’, is a staple Japanese horror game which has grown quite the fan base, particularly the game’s second feature, Crimson Butterfly. The game mostly toys with the paranormal and all haunting paraphernalia associated with ghostly ghouls, leaving players often aghast due to the game’s genuinely creepy material. The fear factor is amplified by the unique play of the game, with the objective being that the player must use a special camera, think Camera Obscura, leaving the horrifying ghosts to leap out on the screen the minute the shutter button is pressed. Shockings’ and intensity are two rules of the adventure that make for an entertaining and above all, addictive game.
Visage (2020)
Partially inspired by the intricacies of P.T. is Visage, an independent game centred on a strangely laid out house where players must determine the root cause of the paranormal activity. The semi-open world structure of the house allows for a range of puzzles to be solved, which vary from gaining information from the cryptic surroundings to obscure challenges where the player has to immerse themselves right into the daunting action. The non-linear flow of the game makes for plenty of unexpected twists and turns as the player unearths the lore of this strange and confusing house.
MADiSON (2022)
The Argentinian game MADiSON is perfectly simple, it delivers scares by the bucket load, the gameplay is smoothly developed and just the right amount of challenging; the visual and aural aesthetics have that hard to achieve balance is intense, but not too much like a caricature. This melodic approach is what makes MADiSON the ‘Scariest Video Game of All Time’ as declared by Broadband Choices The Science of Scare Project where 200 players were made to play 45 horror video games, whilst connected to a heart rate monitor. On average players of MADiSON had a BPM of 97, peaking at an extortionate 131 BPM!
Shock Frights: Jumpscares
Outlast (2013)
Outlast has gained a reputation over the years as being a terrifyingly graphic and cruel game that will have you playing with the lights on. The game centres on a freelance writer who gets wind that a psychiatric hospital is performing inhumane human experiments – think MK Ultra, leading the journalist into the hellish bowels of the nightmare-inducing wards where all kinds of harrowing beings lie in wait. Outlast exercises a rare feat in horror video games, the lead character – the player, has no special abilities, nor any powers or weaponry that can defeat the utterly soul-shiveringly creepy enemy. Alternatively, the player must solely rely on stealth tactics to avoid a genuinely brutal demise.
Five Nights at Freddy’s (2014)
Five Nights at Freddy’s has become one of the most popular staples in horror video game spectre in recent years, with the animatronic-themed chaos interweaving itself into the tapestry of books, comics, films and the culture of cosplay fandoms. Whilst some may argue against this, the game itself is not necessarily nerve-shatteringly scary, it is however an abundance of total fun where the jumpscares and creepy scoring make for quick bursts of entertaining frights. The majority of the games take on the story of a fictional Chuck E. Cheese-style place where night shift employees have to watch over anthropomorphic animatronics that are inhabited by the souls of murdered children. The rather dark background story and impressively creative design of the game make it a must-play.
TheMortuary Assistant (2022)
TheMortuary Assistant comes from MMORPG (Massively Multiplayer Online Role-Playing Games) creator Brian Clarke, whose admiration of found footage horror films led to the creation of a prototype of what would go on to become the future hit game. The concept is set in a small town in Connecticut circa 1998 where players take on the role of a beginner mortuary assistant. Initial feedback for the prototype consisted of audiences wanting a more detailed simulation of the embalming side of the plot. Disturbingly but brilliantly, the game evolved to feature hyperrealist embalming procedures which focused on many old-time archaic methods that make for an even gorier game. As if the deathly processes were not enough for the player, the game also implements a staggering amount of effectively executed jump scares that come from the demons that haunt the surgery. Players will encounter countless jumps, boos, and screams as they make their way through the morbid game.
To Be Released
Until Dawn (Late 2024)
It is not uncommon to develop a hand of god feeling whilst playing a game. At the root, it is you who is calling the shots. However, Until Dawn takes this idea and maximises it to its fullest capacity. The game uses a brilliant butterfly effect where each step and decision you make within the game, affects the outcome and consequences, where you can find yourself in a plethora of differentiating webs and conflicts every time you play. Maximising the interactivity of the gameplay is the overall emotional depth that the narrative-driven plot thrives on, with the story breeding a sense of drastic permanency; whilst playing if you were to make a wrong move and one of the characters meet their gory demise, the act is final and the character will remain dead until the game is started over. With all of the game’s excellence, fans were ecstatic to find out that a remaster of the hit game will be released later this year, showcasing even crisper graphics that will enhance the true terror that bleeds throughout.
Ghosts (Release Date: TBC)
Jed Shepherd, writer, director, producer and now video game creator is known for his phenomenal contributions to horror, with productions such as Host (2020) and Dashcam (2021) lining his credits. Shepherd heralds the upcoming interactive horror video game that is set to be released across Xbox One, PlayStation 4, Microsft Windows and Nintendo Switch; with the big gaming names featuring Ghosts, it can be assured that no one will miss out on this frightful play. The game focuses on a television producer of Ghosts, a live-action ghost-hunting show. The game takes place in real-time, with the job consisting of accommodating the hosts, choosing which footage to include, select the advertisements for the show, all the whilst keeping a lookout for ‘The Long Lady’ – the in-game urban legend whose Medusa-like gaze kills anyone the moment they meet eyes. Along with the unique and exciting plot is the FMV (Full-Motion-Video) stylisation that also comes with an interesting time restriction. The game can only begin at 10 pm local time and if the user were to end the game before the show ends then all the characters will die. Whilst the Kickstart-funded game has not received an official release date as of yet, it’s a sure fact that this live-action, totally distinctive game is not to be missed.
OD (Release Date: TBC)
Hunter Schafer (Euphoria), Sophia Lillie (IT: Chapter Two) and Udo Kier (Bladerunner) star in this Hideo Kojima and Jordan Peele written game. The details behind the story have been kept deliberately tightly under wraps, with Kojima only teasing the overarching scenario that revolves around testing fear thresholds and what happens when one overdoses on fear. Unfortunately just under three minutes of the gameplay was leaked which showed a nurse lingering around a darkened hospital with a flashlight followed by a treacherous scream. Whilst still little is known, what has been promised is that this will be no ordinary game, but instead an innovative form of gaming media unlike no other.
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In Ishana Night Shyamalan’s feature directorial debut, M. Night Shyamalan’s daughter proves that she has a natural talent on her own without any namesake, creating mystifying lands and lore in the horror The Watched. Whilst the film equips an expansive story filled with startling truths and shocking details, the continuous barrage of going-ons and happenings force the sincere spookiness of it all to drown amongst the chaos. This new gothic horror is certainly worthwhile, but the muddled dynamic dampens the film’s full potential.
Mina (Dakota Fanning) lives somewhat of a no-thrills life, working in a pet shop in Ireland where she wallows and grieves in the loneliness of her existence. Tasked with transporting an exotic parrot to a zoo in Belfast, she soon finds herself stranded in a dark and eerie forest. Looking for a way out, Mina’s Search for rescue is cut short as she becomes trapped in a bunker where the night creatures crawl above.
The Watched’s premise originates from a novel of the same name by A.M. Shine, who does a masterly job of intertwining Irish folklore into a twisted, ghastly horror novel. Similar sentiments apply to Shyamalan’s adaption, with the first act conjuring suspense unlike no other, crafting the same intrigue that the novel does towards the lore and mysticality regarding the central creatures. Keeping in mind these creatures, the film’s design aesthetics are also deserving of a hat tip, with their more minimalist appearance delivering ample tension at the mere thought of them. Once again, even further praise is awarded to the atmosphere of the forest and its pastures of green-tinged terror. And yet, The Watched still drastically wavers at the halfway mark.
With all of its twists and turns, warped fantastical displays and heightened intensity, The Watched suffers from its abundance of thematics and exhibitions. The saying, sometimes more is less, is certainly a phrase the film could have benefited from, with the overall diegesis becoming overwhelmed and lacking focus on any of its countless elements. Leading on from the superfluous narrative is yet another crux in the faults of The Watched. Whilst Fanning, along with co-stars Georgia Campbell, Olwen Fouéré, and Oliver Finnegan, deliver strong performances, the dialogue they had to work with was bleak and overloaded with unnecessary, excess exposition to the point of it being uninformative and simply a negative expression into how it was presumed the audience could not gather the intel on their own.
The premise of Shyamalan’s vision is worthy of compliment, with the folkloric, fantasy element complimenting the intriguing aesthetics of the setting, but the rambunctious nature of the film’s overdone plot simply hid a film that had the potential to be an excellent, curious tidbit into the world of fantasy horror.
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The Crow is perhaps one of the best films of the mid-1990s. It wows audiences and critics alike and has cemented itself as a definitive classic for the ages. As the film celebrates its 30th anniversary, let’s dive into the turbulent world of grungy, vengeance-seeking chaos, gothic aesthetics, rocky sequels, and the tragic production of The Crow.
On Devil’s Night, the night before All Hallows Eve, rock musician Eric Draven (Brandon Lee) is murdered after his fiance, Shelly (Sofia Shinas), is brutally attacked by a group of vicious men the night before the couple’s wedding. However, in a twist of events, Eric rises from the dead and embarks on a violent mission for vengeance.
The idea for this twisted and gritty thriller was first conceived by comic artist James O’Barr in the early 1980s as a way of him dealing with his own fiancée meeting her demise at the hands of a drunk driver. Brimming with anger, O’Barr poured himself into this tale of revenge and hurt, which would eventually be released in 1989 after it was shelved for several years. With the burgeoning popularity of the series, O’Barr was contacted by studios hoping to adapt the story into a feature film. However, that idea was scrapped after executives wanted to transform the film into a musical starring none other than Michael Jackson. Whilst music did eventually play a large part in The Crow, the striking change in layout shut down any initial hopes of adapting the comic books. Eventually, The Crow resurfaced and was brought to the attention of writer John Shirley, who admired The Crow’s haunting style as O’Barr had originally envisioned, leading to a fleshed-out script that was ready to film. Although there were some bumps along the way, with Shirley leaving the production and David J. Schow being brought in for rewrites, the film finally took way.
Casting the role of the lead, Eric Draven, was crucial to the film’s success. The character needed to be at equal levels of dark, mysterious, dangerous, and crazed, but whilst still remaining almost burdened with a deep level of empathy and emotional vulnerability. It was a challenge that the development crew had originally thought either big names such as Christian Slater or River Phoenix could tackle, but it was Brandon Lee who was graced with this career-defining role. Lee, son of legendary martial arts figure Bruce Lee, had appeared in a small string of feature films such as Legacy of Rage (1986) and Laser Mission (1989) prior to filming, but The Crow was his ‘big break’ into mainstream cinema.
It is well known how immersed Lee became in the role, dedicating his physical strength to losing 20 pounds to slim down for the character of Eric. As well as helping choreograph his own fight scenes with long-time friend and fellow martial artist Jeff Imada. The film was going full throttle, with its fantastic lead and a brilliant story shaping up to be a future success. However, on the 31st March 1993, tragedy struck as Lee was fatally wounded on set. During a scene which showed Eric being shot by the thug gang, a prop shotgun was fired by co-star Michael Massee. The revolver was supposed to be filled with commercially made and checked dummy cartridges that could not cause harm or injury. Devastatingly, the prop department forwent the cartridges purchase and made their own by extracting real bullets, ridding the gunpowder charge and then loading the magazine with the doctored ‘dummies’. The crux, however, is that the crew did not extract the primer, which meant that the bullet could detonate with substantial force, essentially acting as a normal, lethal bullet.
The scene in question required Massee to stand about 11-15 feet in front of Lee and shoot him in the midsection. The actions were taken, the trigger was pulled, and director Alex Proyas yelled ‘cut’. Tragically, Lee did not stand up, and it was realised that the weapon was actually discharged. After great difficulty and negotiations, the film commenced after a break to mourn the great Lee, with the fatal scene being wiped and replaced.
Upon its release, The Crow was met with favourable reviews, particularly concerning what was essentially Lee’s swan song in the industry. The prowess he held in playing such a multifaceted character spoke to the complexity of his talents and ultimately was one of the leading determining factors in the film’s long-running success. Further praise was garnered due to The Crow’s stylistics, which to this day is still as deserving of applause as it was then. The film has an aura of morbid, gothic grunginess that coats each visual with a textualness that can be described as a leather-clad, steampunk-esque and moody journey into darkness. Much of the film’s imagery is complemented by the scoring, which features music from The Cure, Rage Against the Machine, Stone Temple Pilots, Nine Inch Nails, and Pantera. The Crow’s central theme, ‘Burn’ by The Cure, summarises the film’s inspiration and subsequent influence on goth culture, with the edgy luridness emulating the film’s macabre and pained portrayal of vexed sorrow.
Seconding the dynamic power of the soundtrack is the costume and design, which showed Eric draped in his iconic black trenchcoat and the signature face paint, which Lee would actually do himself every day of the shoot. The cinematic origins of Eric’s appearance originate after he is resurrected from the dead, where he takes inspiration from a masquerade mask complete with blackened paint smeared around the eyes and lips, with vertical and horizontal stripes exaggerating the features, creating an eerie, cosmetic smile across his face.
Throughout the years of success, The Crow has seen many sequels, which primarily have not been as well received. Just two years after the original, a sequel titled The Crow: City of Angels (1996) premiered, following another revenged paved story. After another two years, a TV series, The Crow: Stairway to Heaven (1998), was enrolled into the growing franchise. The year 2000 saw The Crow: Salvation hit screens with yet another round of generally unfavourable reviews. The final film until this year was released in 2005, The Crow: Wicked Prayer, which once again failed to live up to the triumph of its originator. All of the highs and lows of The Crow franchise lead us to 2024, where the tragic tale of Eric Draven is reignited in a remake directed by Rupert Sanders and starring Bill Skarsgård as the aggrieved widower.
As the 30th anniversary of The Crow is honoured and the remake looms, it is crucial to remember just how prominent the film is. To say that the film has a cult fandom is an understatement. Instead, The Crow is unbelievably beloved by masses of viewers, many of whom agree that the film’s force is largely at the hands of Lee’s immersive, powerful performance that he was sadly never able to experience on the big screen.
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Exhibit A is a bleak, depressing exercise into nihilistic terrain as the film follows the King family, whose patriarch spirals after failed promotions and financial burdens. The film’s timely release circa the mid-late 2000s speaks to the detrimental economic climate the world was experiencing at the time. In this sense, Exhibit A delivers a cold, callous look into the societal landscape of the era, but with the guise of horror, adding a gritty, affective touch of dramatisation to the mix. Found footage has been around for decades (and then some more), and it seems that Exhibit A goes continuously unrecognised on a larger scheme, donning this chilling feature as an underrated gem.
2- Alexandra’s Project (Rolf de Heer, 2003)
Although Alexandra’s Project’s labelling as a ‘horror’ might be pushing the lines for those with strict definitions of the genre, it is undeniable that this Australian thriller makes for a horrifying watch. The film chronicles the breakdown of a man who seemingly has it all: a stellar career, adorable children and a supposed loving wife. However, the bliss is soon interrupted when he comes home one day and finds a barren house with a mysterious tape waiting to be played. The particularities of the film are a deliberate conundrum as the convoluted, non-linear, layered story unravels with such complexity, eventually breaking down everything you thought you knew about the world of this disturbing film.
3- Taxidermia (György Pálfi, 2006)
Describing this Hungarian horror comedy as anything less than bizarre, obscure, and a grotesque circus ride would be a disservice. This surrealist film embodies a chaotic fever dream that follows a parodic yet utterly unnerving retelling of Hungary’s political, cultural and social journey from WW2 to the contemporary period. The overtone of reciting the landscape of history may sound fairly intriguing, making for a potentially complex and possibly informative watch; however, Taxidermia offers a whole lot more than what its synopsis purports. The film is rife with some of the grossest body horror cinema has to offer; think if Cronenberg, Lynch and the whole of Troma Entertainment colluded to create one of the gnarliest visions they could ever conjure.
4- Subconscious Cruelty (Karim Hussain, 2000)
With a title as brazen as Subconscious Cruelty, it is rather obvious what to expect throughout this extreme art house horror. This film is on the borderline of being quite difficult to sit through, what with the frame constantly being filled with graphic violence and torture that rivals the likes of the August Underground trilogy and the controversial and lovingly named Slaughtered Vomit Dolls (2008). The categorisation of Subconscious Cruelty, an anthology horror, bodes well to complement the twisted and maniacal nature of the content, offering the film somewhat of a layered aesthetic that allows some viewers to view the visuals in a more philosophical light. For instance, in each segment, aspects of nature, mother earth and religion are explored under the costumery of horror. Whichever opinion is formed after watching, one thing is certain – Subconscious Cruelty is completely thought-provoking.
5- Creep (Christopher Smith, 2004)
While the title Creep may immediately ring bells for fans of the 2014 Patrick Brice film, in this case, the ‘creep’ proprietary belongs to the 2004 British horror directed by Christopher Smith. The film follows a woman trapped with a monstrous humanoid on the London Underground after falling asleep, leading to a barrage of bloodied antics in the fight for survival. Although it may seem like a detriment, Creep is not necessarily a trailblazer in the genre, but it most definitely is a blast of frightening fun to watch, akin to that of nostalgic cinema where one can expect plenty of gory buffooneries and a tense battle to the death.
6- Visitor Q (Takashi Miike, 2001)
Takashi Miike is no stranger to horror, with films such as Audition (1999), Ichi the Killer (2001), and One Missed Call (2003) lining his filmography. Nevertheless, as with any creator whose titles surpass 115 directorial credits, there is bound to be an entry that is a hidden treasure – for Miike, this feature is Visitor Q. The film details the lives of the Yamazaki family and their truly disorderly attitudes to life, graphically exhibiting depravity in the most vile ways possible. This standout Japanese horror is not for the faint and not to be missed.
7- The Hamiltons (Michael Altieri and Phil Flores, 2006)
Michael Altieri and Phil Flores, also known as ‘The Butcher Brothers’ mid-2000s horror film The Hamiltons thrives on the dark secrets beyond the walls of Hamilton’s family home, with the film taking a gradual approach in revealing the big mystery as to why the brood feels a little strange. Whilst the intrigue around what skeletons lie in the closet best remains a secret for potential viewers, what can be commented on is the film’s rather emotive approach to what is quite a grizzly flick. The Hamiltons rides the waves of uniqueness, often going against the grain within its subgenre and offering a refreshing yet visceral journey into the plentiful frenzied events.
8- Bug (William Friedkin, 2006)
Despite having the legendary William Friedkin, director of The Exorcist (1973), at the helm of Bug, the film has gone under the radar over the years. This psychological horror presents the story of a couple who become convinced that their entire beings and surroundings are infected by bugs that have been deployed by the government to infest and infect as spies. The maddening concept is only the tip of the iceberg. Friedkin exacerbated the terror by incorporating a claustrophobic atmosphere into the film and enlisting brilliant and powerful performances from the leads, Michael Shannon and Ashley Judd.
9- In My Skin (Marina de Van, 2002)
French horror, particularly that from the New French Extremity reign, has come to be known as an entirely engrossing yet nauseatingly brutal and bloodied division of genre cinema. Marina de Van’s independent film In My Skin is no exception to this rule. As a baseline, the film follows de Van as the lead character who develops an obsession with self-mutilation, which eventually escalates into autocannibalism. In My Skin has received a cordial reputation amongst many, but it has yet to receive the wide acclaim and recognition that it so desperately deserves.
10- Session 9 (Brad Anderson, 2001)
Session 9 defines itself as one of those horrors which can only be described as bone-chillingly unsettling, with the aura and atmospheric tone completely taking over the film and commanding a formidable power over the viewer. Not too heavy on jumpscares and boding its tension through engaging frights is a film which follows an asbestos cleaning crew who are faced with a job in an abandoned mental hospital, only to discover that the building’s poison runs far deeper than anyone could ever imagine. Session 9 thrives on the premise of isolation and eerie loneliness within the self, both through the film’s impressively intimidating setting and through the compelling performances from David Caruso, Stephen Gordon, Josh Lucas and Peter Mullan.
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When Bryan Bertino’s The Strangers hit theatres in the spring of 2008, not many could guess that this fairly low-budget feature debut would become the iconic home invasion thriller that it is. Years later, the chilling hit was met with another sleeper success with The Strangers: Prey at Night (2018); now, 16 years later, horror fans have been met with the third and latest entry – The Strangers: Chapter 1. However, does this new housebreaking horror have what it takes to stand alongside Bertino’s brilliant original?
Chapter 1 follows Maya (Madelaine Petsch), partner to Ryan (Froy Gutierrez), who together decide to up and move to the Pacific Northwest for a fresh start. Stranded after their car breaks down in the insular town of Venice, Oregon, they settle in for a night at a remote Airbnb. However, it is not long before the lodge is descended upon by a trio of formidable, masked intruders.
The story itself is not necessarily groundbreakingly original, but there is a reason why the saying “if it isn’t broke, don’t fix it” exists; it is precisely this reason why Chapter 1 is granted some initial praise. Home invasion horror exudes an air of terror. The fear of safe spaces eroding and the threat of ruin where vulnerability thrives is what makes the subgenre so effective. Even in its most stripped-back form, the invasion trope is terrifying. Chapter 1’s take on this well-oiled subject is almost applaudable. Essentially, it ticks all of the boxes: rural location where no one can hear you scream, plenty of windows where the seeker has the advantage, and the most crucial point; the film showcases a long-running, frenzied cat and mouse chase.
Sustaining the momentum is the film’s overall composition. The appearance itself, from the lighting to the set design, is measurably effective, with the cabin aesthetic creating some interesting crevices for the killers to hide, as well as honing in on that quintessential atmospheric quietness that projects from remote chalets. Still, the merits soon halt as the rest of the film suffers at the hands of its own unclear direction. Chapter 1 was largely marketed as a prequel, with even the trailer blasting the promise that the film would provide the chance to “witness how the Strangers became the Strangers”. Yet, any watcher of Chapter 1 will retrospectively state that the film is actually a relaunch of the original movie.
Lionsgate has revealed that Chapter 1 is the first in a new ‘Strangers’ trilogy, with the other two films being shot concurrently with the first entry. The strategy behind the upcoming series is to launch the lore of The Strangers to new audiences. Whilst a level of excitement is owed at the thought of a new franchise development, it might’ve been worth creating a new, original string of home invasion horrors rather than rebooting a film which was made less than twenty years ago. Nevertheless, Hollywood prevails…
It is at this point where Chapter 1 shrivels. Indeed, the aesthetic and thematics of its subgenre stand tall and pack an effective surge of thrills, but other than the sequestered semantics, Chapter 1 does not offer anything necessarily innovative or worthy of imminent discussion. Instead, it is best to take the film for what it is: a fun, jumpy popcorn movie that bears nostalgia to the amusement of 2000s horror, but not enough to owe significant enthusiasm towards.
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Epitomising looming doom amidst a backdrop of murky greys and even murkier secrets is The Moor, a new and unmissable horror directed by Chris Cronin and written by Paul Thomas. Weaponising the beauty and dread of slow-burn terror, combined with the dramatic performances and startling dark narrative, equips the film with mystery and intrigue, making it one of 2023’s Frightfest’s best screeners.
The film begins in ‘God’s Own Country’, also known as Yorkshire, in 1996. Youngsters Claire (Billie Suggett) and Danny (Dexter Sol Ansell) hatch a plan to steal sweets from a corner shop, with Danny distracting the shopkeeper whilst Claire fills her bag. Claire successfully leaves (treats acquired); however, Danny never leaves the shop. A compilation of archival footage and newspaper clippings show that Danny’s disappearance was only a notch in the belt of a long line of child abductions in the area. Now, 25 years on, the man supposedly behind the tragedies is set to be released from prison, leaving Danny’s still distraught father, Bill (David Edward-Robertson), hellbent on finding his son’s remains to close the situation once and for all. With the help of Claire (now played by Sophia La Porta), her podcast, and a curious crew, they set off into the Yorkshire Moors to decode this grand mystery once and for all.
The complex backdrop is rife with a pitch-black horrific context of missing persons, death and unresolved trauma, making for a sorrowful feature that is reminiscent of the plague conjured by grief and heartbreak. Although all of these intense emotions speak to the film’s ability to tug on the affections of viewers and their own fears of losing someone, what is perhaps the most stringent element to diffuse from the fantastic smorgasbord of thematics is The Moor’s exhibition of the ‘unknown’. Much of the film toys with the mystery of what is dubbed as the Summer of Fear, the year that all of these strange disappearances happened. Despite the perpetrator’s conviction, there are too many occurrences that do not sit straight, which catalyses the primary storyline of Bill and Claire, uncovering the dark truth behind it all.
Little is known, and little is revealed until the very end, leaving the viewer sat in trepidation, stewing at the thought, and imagining a plethora of horrid scenarios; essentially, Cronin employs our dark imaginations and forces us to manifest horridness throughout the film. In keeping with this ‘thiller-ific’ psychological torture is how The Moor captures and presents its melodic meaning on screen. The cinematography takes advantage of the rural British countryside and all of its folkloric, haunting discourse to showcase not just visually captivating shots of foggy greenery and daunting skies but also intimate shots of the characters as their psyches are ripped apart and shattered by the horrors of The Moor.
All of the carefully composed mayhem throughout would not be the same without the showstopping performances from the cast, particularly from the characters of Claire and Bill. They each embrace the cryptic tone of the film, carefully expressing immense emotions to pair perfectly with the big reveals. Their emotions are consistently raw and authentic, managing to not fall into the trap of being caricatures of grief.
Adjacent to the stellar staging is the film’s homegrown feel that amplifies the effective eerieness cultivated throughout British horror. The actual Moors residing in the north of England are home to a barrage of lore, with the lush, heathered Moors being at the centre of many ghost stories and legends. Cronin’s clever use of fabled trickery forces us, especially those familiar with the Moor landscape, to re-examine the depth and capabilities of those horrific tales that keep you up at night – does something unexplainable truly lurk amidst these strange disappearances…?
How The Moor bares its true bones is akin to a smouldering fire, delivering an impactful thwack of an exposition but then turning down the heat and letting it simmer and bloom until it reaches a scorchingly shocking end. This film is a gem that commands captivation and promises a visceral and uncanny journey into the great unknown.
We’ll be screening Chris Cronin’s incredible feature THE MOOR, which has wowed festival audiences worldwide since its debut at Frightfest in August. This is one of the final opportunities to experience its haunting beauty in cinemas, so don’t miss the chance to see one the best UK horror films of the past few years on the big screen.
Chris will also be attending to have an intimate Q&A with horror fansafter the screening – GRAB YOUR TICKETS HERE
To say that The Texas Chainsaw Massacre (1974) helped shape the horror genre as we know and love it today would be an understatement. The film essentially tore through the screen and cascaded its way into the veins of genre cinema and aided in its stellar, magnetising and polarising reputation. Although its 50th anniversary is on the horizon, its reputation as a solid classic has never been more significant.
The man behind the camera, Tobe Hooper, first conceived the idea for the film in the early seventies whilst he was working as an assistant director at the University of Texas at Austin. Enchanted by the mystery of rural isolation, darkened woods and the macabre nature of the human condition, Hooper took to sketching out film plots. His narrative would mould into shape over the years, but one focus that he kept true throughout was the aspect of real horror. One essence of storied evil came from the crimes by serial killer Ed Gein, whose reign of mutilation and murder gripped the nation since his attacks began in 1950s Wisconsin.
With a rough idea in mind, Hooper enlisted his friend and fellow film creator Kim Henkel to flesh out what would soon be a titular force in the world of horror. Upon the trials and tribulations of funding, eventually, the pair eventually produced the film for around $140,000. Due to the scope of the project and the somewhat limited budget, the film developed an all-hands-on-deck mentality where the cast and crew gave themselves to a gruelling filming schedule and journey. With a dream of developing a contentious project for the time, the relatively unknown cast was deployed to Texas where they took over a farmhouse and its land where the southern humidity reached temperatures of 43°C; keep in mind that the shooting schedule consisted of 16 hour days, 7 days a week!
In keeping with the authenticity of it all, the various horror paraphernalia seen throughout the film such as the copious amounts of blood, bones and gore were more often than not real. The blood seen splashed up against the walls in the dreaded farmhouse was real animal blood obtained from slaughterhouses. To further aid in the genuity of it all, the crew would often traverse the local gravel ways of the area to scour and collect the decomposing remains of roadkill and dumped cattle carcases to decorate the set. As if that wasn’t enough, a few scenes refrained from practical effects and opted for unstimulated violence, for example, during one scene a tube was supposed to secrete blood, however, due to technical malfunctions the tube failed, therefore, the lead actress, Marilyn Burns, and Hooper decided it would be best to instead slice her finger open with a razor blade to achieve the desired finish.
Despite all the antics and devilment that ensued onscreen, the film managed to pull in a successful run at theatres, becoming the twelfth highest-grossing film of 1974. It has been reported that a large part of the film’s success and consequential issues with censorship regimes were owed to its misconception of factuality. The opening title crawl recounts that the film is a real account, based on a ‘true story’, leading to plenty of lore regarding its origins amongst cinemagoers. Eventually, the UK’s classification board, the BBFC, banned the film, citing that it advocated for “abnormal psychology”. It was not until the early 1980s that the film was released on video, however, due to the 1984 video nasties panic, the film was once again removed from public access.
As the years rolled on and the censorship on horror loosened, The Texas Chainsaw Massacre became one of the most iconic pieces of cinema to exist. Featuring on nearly every ‘best film of all time’ list and garnering a protected and beloved status amongst all, Hooper’s once sordid feature has become a renowned classic. Many readings have circulated about the film, particularly surrounding the final girl philosophy, ‘urbanoia’ hysteria, and how the film spoke to the socio-political landscape at the time. Traversing back to the film’s title crawl – “the film you are about to see is true”, serves great significance in its diegesis. Hooper cites that the falsified warning was reminiscent of the misinformation of truth being spread to civilisation during the 1960s/1970s.
Hooper commented on how the news surrounding the Watergate scandal and the Vietnam War led to many believing whatever agenda the press wanted one to believe, with society often overlooking the hidden atrocities at the time. In a similar vein, he also took to explaining how the horror in the film was of man’s creations, not a make-believe creature, again, taking aim at humanity’s own deadliness. As it stands today, fifty years on, this undertone of commentary still remains potent, with the film’s explorations of the transgressive speaking to many of the world’s events as of now.
Moving onto a more creative framing, the film has served as a baseboard for the slasher genre. Many filmmakers have explicitly stated their inspirational admiration of Texas Chainsaw’, such as Rob Zombie’s Firefly trilogy. One rather obvious locus of devotion to Hooper’s classic is the film’s franchise expansion. The franchise boasts a whopping nine films, along with a successful video game spin-off, comics and books, leading to the series joining the likes of cinematic universes such as Halloween and Friday the 13th. Although some entries remain more successful than others, such as the brilliant Texas Chainsaw Massacre 2 (1986), the original remains the undefeated champion.
The Texas Chainsaw Massacre’s contemporary reception is living proof of its indefinitely popular reception, with the film even being admitted into the Horror Hall of Fame (1990), serving as a recognised exemplary piece of filmmaking. Even aspects that seem elemental in the film still hold great traction after all this time. Think of the iconic character of Leatherface, the great force of antagonism. His character has been under the spotlight for years, with his psyche being analysed and relayed multiple times. Many see his villainy as being a product of his environment, where his actions do not necessarily come from a place of banality, but from a place of misunderstanding. Regardless of his ethos, what stands for many is how he is at the root of much of the film’s stunning aesthetic.
The film’s concluding scene shows Burn’s character, Sally, fleeing from the farmhouse, escaping on the back of a truck whilst Leatherface breaks chase with his chainsaw flinging in the air. There is something so intriguing about the sunset tones and his gruesome mask made out of flesh, along with the understanding that although Sally has escaped, Leatherface and everything he stands for still goes on thriving.
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Late Night with the Devil sees the excellent David Dastmalchian as Jack Delroy, a 1970s host of the late night chat show, Night Owls. Desperate to gain viewers back after a tragedy in his personal life, Jack themes his latest episode around occultism, however, the broadcast goes horribly wrong when a possessed guest unleashes a world of hell.
The directing duo, Colin and Cameron Cairnes delivers a menacing and mischievous feast brimming with hocus pocus trickery that constantly deceives and takes the viewer on a rollercoaster of havoc as we see a talk show spectacle turn into a cinematic rendition of satanic-panic-like mayhem. Late Night with the Devil’s wacky, yet utterly malicious narrative takes shape due to its clever filmic development; the film immerses itself into its vintage layout, with the frame taking on a surprising found footage arrangement, but not how one would generally expect it to. In other words, instead of a small handheld camera capturing POV’s, the found footage lens is of a ‘lost tape’ that has been discovered by a group of current documentary filmmakers. It’s a unique breaking of found footage codes, shaking colloquial storytelling and providing a level of exciting mystery.
Shadowing the film’s fresh take on the diegetic lens is its meta-esque feel, thanks to the late night lost tape appearing as a live broadcast. Immediately, bells ring to the likes of Ghostwatch (1992), WNUF Halloween Special (2013) and Haunted Ulster Live (2023) all of which utilise an almost forbidden feel, watching realist-coded footage gone wrong. Late Night with the Devil joins these witty displays of interactive filmmaking that have created an intriguing and entertaining cinematic discussion surrounding participatory viewership.
Whilst it is certain to say that presenting the moving image as an unplanned, charged, live piece aids in the fright factor and immediacy of it all, what is not to be underestimated is how the film’s performances equally contribute to the overwhelming impact of it all. Dastmalchian shines on screen, taking the already fantastically written character and making the role come to life with his portrayal of a broken man attempting to redeem some form of oomph back into his career, only for it to all come crashing down in a great calamity. Further to this is the film’s ability to conjure a scare or two. It is also worth mentioning how the film does not solely rely on brief and rapid ineffective jumpscares to entice a shriek, instead, the scenes are crafted in a way that allows for slowburn reveals that act to chill rather than shout ‘boo!’.
Since the film’s premiere at 2023’s South by Southwest Film Festival, reviewers have raved about Late Night with the Devil, commending its distinctive atmosphere and novel style, yet there has been some commentary regarding its use of CGI. Despite the beloved (and deserved) reputation of practical effects, the use of computer-generated imagery is not the devil, it can in fact be an effective tool. However, there are some pretty obvious, and poor uses of it within Late Night with the Devil, particularly involving scenes featuring lightning, which feels quite out of place and inauthentic when compared to the rest of the film’s stylisation.
In short, Late Night with the Devil oozes appeal, whether that be through its enthusiastic medium that the exciting story is told, or through its riveting storyline that unfolds, convulses, twists and turns until it reaches an almighty, and showstopping revelation – whichever way, Late Night with the Devil is a must-see horror.
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