Categories
Reviews

Horror milestones: The big movie anniversaries this year


Creepshow
(Directed by George A. Romero, 1982)

Creepshow is a highly regarded classic that hasn’t once been pushed aside in either popularity or cultural significance even after an entire 40 years. This timeless gem was created by two of horror’s most devilish minds, Stephen King and George A. Romero, with legendary effects artist Tom Savini also joining the macabre team. What inevitably works so well within Creepshow is the anthology method of filmmaking which allows for plenty of short films to unfold, all encompassed by an overarching story, which in Creepshow’s case regards a young boy, Billy (Played by King’s son Joe Hill) who is scalded by his domineering father for reading a horror comic, leading to the comic book’s host ‘The Creep’ coming to life and showing Billy what true horrors lie ahead. Over the years, Creepshow has inspired multiple sequels and a TV series on Shudder following the same anthology format. 

The Thing (Directed by John Carpenter, 1982)

John Carpenter needs no introduction, with staples such as Halloween (1978),The Fog (1980), and Christine (1983) all residing in his densely rich filmography. However, one of the most important and groundbreaking entries to come from his work (and the 1980s in general) is The Thing, a body horror spectacular that shows off a plethora of fascinating practical effects like it’s participating in a gory pageant show. Quite surprisingly, upon its initial release the film was rather bashed by seemingly everyone, apparently it was too ‘nihilistic’ for audiences. However, just as Carpenter says himself, the film was incredible, but the cinematic territory of the time was just not prepared for something so intense, unpredictable, and electrifying. The film would purposefully take its time in setting up a cushty relationship with the characters and divulging into the backstory, only to disrupt any sense of harmony in the most shocking and gnarly way possible. As The Thing turns 40, it’s more important than ever to look back on how the land of film has changed overtime and how previously thrashed horrors have come back with a bigger bite than ever before. 

Poltergeist (Directed by Tobe Hooper, 1982) 

“They’re here”… That famous quote that terrified audiences for years still rings as eerie today, 40 years on. And whilst ghost movies have gone through leaps and bounds since then, Tobe Hooper and Steven Spielberg’s sensational collab is just as gripping and action-packed as it was when it was first released. Poltergeist transformed the ghost story from being one set in a grand manor occupied by Victorian spirits to one that shows an unstoppable force that fashions itself to suit its victims fears. Hooper takes his time is dissecting all of the madness and mayhem, leaving no horrific stone unturned. 

Candyman (Directed by Bernard Rose, 1992) 

Based on Clive Barker’s short story The Forbidden (1984) is Candyman, a legendary take on injustice through the lense of a meticulously startling premise. The entire idea that a creature from the great unknown will appear before you upon muttering their name is not an alien concept within filmmaking, urban legends such as the ‘Bloody Mary’ hoax all stir that urge to connect with something beyond reality; through Candyman implicating that this barrier can be broken in the comfort of familiar surroundings makes the boogeyman lore even more terrifying. But, rather than the film focusing too much on the above gimmicks, a tale of retribution and moral corruption is additionally explored, creating a narrative that stands the test of time. 

Army of Darkness (Directed by Sam Raimi, 1992) 

When Army of Darkness is reminisced upon 30 years after its release it’s easy to see it as a simple irreverent ride that has no trouble in standing out. And whilst part of that sentiment is true, this third entry in The Evil Dead franchise also served as a stepping stone in creating the action horror hero, as well as cementing the franchises reputation of managing to deliver the rare combination of gory frights and absurd comedy all at once. As the years have progressed, Army of Darkness is largely responsible for all of the expanded works to come from The Evil Dead, including a span of successful comic books, a video game focusing solely on the Army of Darkness events, and a TV series titled Ash vs Evil Dead. 

28 Days Later (Directed by Danny Boyle, 2002)

Zombies have enough potent power to knock spiny tingling fear into even the most ‘nerves of steel’ viewers, with their rotting skin, appetite for brains, and expressionless persona making for the perfect creature feature. The undead are visceral enough on their own, but when these attributes are combined with supersonic speed and senseless rage a recipe for gory success is created. Danny Boyle’s 2002 zombie extravaganza 28 Days Later brought the weakened, overdone genre back to life in what can be described as a chaotically violent and nail-biting display of how horror can both provoke a pure visceral reaction whilst also leaning in on the social disposition zombies originate from. The film expertly weaves in the common notion of morbid curiosity, and how the downfall of society is due to humanity, not some act of god. 28 Days Later is grounded in realism, making it beyond terrifying and a fright to remember. 

Dog Soldiers (Directed by Neil Marshall, 2002) 

Neil Marshall has become a horror extraordinaire with his features Dog Soldiers and The Descent (2005) creating an acclaimed ridden tidal wave amongst critics and viewers alike. And whilst The Descent reigns champion on nearly every genre list, it’s important to remember where Marshall’s journey began. Like all ghouls and goblins, werewolves have a long running history in the genre, with films such as The Howling (1981) and Ginger Snaps (2000) focusing on the bestial connection within the body, but rather than Dog Soliders placing the horror in second place to favour a story dripped in empathy towards the beast, Marshall emphasises the sheer fear and teeth-chattering terror  that werewolf’s exude. Dog Soldiers quintessential Britishness, including plenty of dark off-kilter humour, combined with Marshall’s talent for grounding the dread in such a brutal way ensures that this lycanthrope masterpiece will remain of utmost cinematic importance for many years to come. 

The Ring (Gore Verbinski, 2002)

Hideo Nakata’s Ringu (1998) perfectly displayed the early 2000s underlying fear of technology taking over through the guise of an Onryō ghost origin story. And whilst remakes receive a rocky reputation, Gore Verbinski’s retelling of Japan’s number one horror film was both a financial triumph and a kickstarter in the J-horror era of cinema. Summoning a beyond bleak atmosphere that surveys heavy melodramatics and themes of guilt and hopelessness is the film’s attention demanding cold palette that acts like a spell, positioning the viewer to unearth their own feelings of loss and doom. Above everything, what allows The Ring to be held as such a highly regarded 2000s horror is Verbinski’s dedication to retelling Ringu under his own unique interpretation without butchering or over-westernising the original’s motives.

Sinister (Directed by Scott Derrickson, 2012) 

Scott Derrickson is hot off the press at the minute with his latest feature The Black Phone (2021) receiving endless deserving praise. However, let’s not forget his 2012 showstopper that has been named as one of the scariest films according to a 2020 study. Sinister wielded intensely disturbing imagery found within the reels of super 8 footage, alongside the hauntingly memorable character design of Bughuul (Nick King), the resident boogeyman for the film. Across the horrific journey that Derrickson takes the audience on is a keen sense of deliberate misdirection, where the origins of Bughuul and the third act’s fate remains very much in the dark until the very last minute, ensuring that plenty of hair raising tension is to be had. 

The Cabin in the Woods (Directed by Drew Goddard, 2012)

Although it seems like yesterday when the movie scene was all about the latest meta-horror The Cabin in the Woods, it actually turns out that it has been a whole decade since this self-referential puzzle was released. The feast of raunchy humour, throwbacks to beloved classics, and overarching sense of pandemonium over the whole ‘world is ending’ commotion results in a film that is so complexly winded that it’s hard to not want to congratulate Drew Goddard for managing to put on such a circus so flawlessly. Amidst all the dynamic effects and scenes is the film’s way of throwing in something for everyone, whether it’s gigantic arachnids, zombie rednecks, or a merman, The Cabin in the Woods has it all! 

Looking for more top horror lists and reviews? Check out our blog here..

Categories
News

This week in horror – 27.06.21

Full Candyman trailer is finally unleashed

Candyman has been the word on everyone’s lips since it’s teaser trailer release late last year, and now that buzz has only heightened with the brand new trailer released earlier this week showing Nia DaCosta’s take on revamping the iconic Candyman franchise. The Jordan Peele produced film brings Candyman back to where it all started with Tony Todd returning to his iconic role, but as the trailer reveals, this reboot will be far from anything we’ve already seen as it’s more of a spiritual sequel than a direct continuation. Scenes of inner turmoil, forgotten communities, and frightful legends all make an appearance, with the brief clips revealing a new Candyman with a strong message taking the forefront on societal constructions.

Universal Pictures releases Candyman on the 27th August. 

V/H/S/94 set for a late summer release on Shudder

News recently broke of a fourth installment in the V/H/S saga. V/H/S/94 is the upcoming horror showcasing exciting talent within the genre, with the anthology essence creating something for everyone. The ‘94’ essence is a direct nod to the year that handheld cameras came about, which means that we’ll probably be in for a nostalgic ride into horrors most absurd short films. V/H/S/94 will be curated in the franchises typical anthology method, with the segments being directed by Ryan Prows, Chloe Okuno, and Jennifer Reeder. It has not been disclosed whether this list will continue, but we do know that it won’t be long until we find out as the official premiere will be held on Shudder late this summer. 

Filming is wrapped on Mainframe Pictures latest horror ‘She Came from the Woods’

It has been revealed that Ten Minutes to Midnight creators Erik and Carson Bloomquist will be adapting their 2017 short film ‘She Came from the Woods’ into a feature film. The film focuses upon a group of camp staff members conjuring an old legend on the final day of camp in 1987. Already the film has an impressive lineup, with Adam Weppler who starred in Ten Minutes to Midnight reuniting with Bloomquist, alongside Cara Buono (Stranger Things), Clare Foley (Gotham), Spencer List (The Miseducation of Cameron Post), Ehad Berisha (Billions), Juliana Davis (The Post), and William Sadler (The Shawshank Redemption). Mainframe Pictures (founded by the Bloomquist brothers) has announced that production has just wrapped, with post production stages commencing shortly. 

Halloween Kills is one step closer to its release with the new trailer dropping this week

When it was announced years ago that David Gordon Green would be delivering the eleventh movie in the Halloween franchise, fans of the classic horror were not overly happy with yet another entry, however once Halloween (2018) was released the consensus changed entirely as the series went back to its roots for the first time since the early 1980s. So it’s safe to say that the long awaited Halloween Kills is one of this year’s most anticipated films.

After continued delays due to restrictions, the full trailer has finally been released. Although Michael Myers was left burning in Laurie’s trapped basement, the trailer shows Myers rising from the flames to go on yet another murderous rampage. The official release date is the 15th October, perfect timing for All Hallows’ Eve. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Categories
Reviews

Top ten classic horror movies from the 1990s

1- Scream (Wes Craven, 1996)

“There are certain rules that one must abide by in order to successfully survive a horror movie.” This self-proclaimed meta movie arrived onto the horror scene at a time when it was in urgent need of a boost. As much as we all love our entertaining 1980s horrors, it positioned the genre in a midst of insincerity where there was a general lack of respect and regard for horror being considered actual ‘cinema’, rather than just schlock. And it took the directorial skills of Wes Craven and the imaginative writing of Kevin Williamson to bring horror back to the limelight for good. Scream has since become a classic, with its overarching wit and deconstructing attitude blossoming a tv series and three additional films, as well as a highly anticipated fifth film coming soon

2- It (Tommy Lee Wallace, 1990)

Pennywise the dancing clown may have won over most audiences with the 2017 remake directed by Andy Muschietti, but this devilish clown’s success is loaned by Tim Curry’s portrayal of possibly one of the most sinister characters from the entire 1990s. Legendary author Stephen King penned It in 1986, and although production companies were hesitant to fund a ‘horror’ production the film’s popularity soared across television networks with great success. It is unconventional in the sense that Curry’s erratically terrifying performance conjures an entirely ruthless villain who will no doubt feed off every viewer’s darkest fears, making It a titular horror not to be missed. 

3- Candyman (Bernard Rose, 1992)

Do not even dare say Candyman’s name five times into a mirror, otherwise you will regret it… Clive Barker’s short storyThe Forbidden is the basis for this urban legend based horror. It is this folklore element that forces Candyman to shine; throughout we are held by both the film’s sinisterly gruesome moments, alongside the mystery surrounding Candyman’s identity. The subject of identity is continuously referred to as we follow Helen (Virginia Madsen), who is caught in a whirlwind as she attempts to solve the mystery of why Candyman spends infinity taunting neighbourhoods and who this monster really is. But it is the true presence that Candyman has which makes it one of the most important horrors of the 1990s. The film aided the visibility of the horror film to mainstream cinema, with it claiming positive reviews and positive critical exception within a short period after its release. Since its release it has spawned into a franchise, with an exciting companion film produced by Jordan Peele being released this year

4- The Craft (Andrew Fleming, 1996)

The Craft has rightly conjoined its power to the 1990s teen tenet that saw an influx of horror films aimed towards an adolescent audience. The film craftly investigates the dire consequences of angsty spell casting and the occult, all whilst throwing in an ounce of high school hierarchy for good measure. This film has become a cult classic, with its reputation still being prominent amongst fans today. This is primarily thanks to its denotation, including the underlying themes of marginalisation and a constant juxtaposition between goth witches held against a middle class suburban catholic school. 

5- The Blair Witch Project (Eduardo Sánchez & Daniel Myrick, 1999)

It would be nearly impossible to create a list of the best 1990s horror without mentioning The Blair Witch Project. This showstopper has divided opinions ever since its release, with new viewers dismissing its scares and announcing it as mundane. Despite negative opinions the sheer success and speculation regarding this film is undeniable, with its release almost creating mass hysteria with many audiences believing that the film is real lost footage of real murders. How could this have happened? Well, it turns out that an extremely cunning marketing strategy really is worth it. The film’s website released seemingly authentic newsreel footage and missing person reports. Alongside this the directors would claim that this was genuine and that they had released it to spread the word to find the ‘missing actors. The film preceded time and went viral before ‘viral’ strategies became popular

6- The Silence of the Lambs (Jonathan Demme, 1991)

The Silence of the Lambs will forever go down in history as being one of the few horrors to ever reach a prestigious level and receive an Academy Award for Best Picture in 1991. Much of the film’s success is owed to the incredible performances of both Jodie Foster and Anthony Hopkins roles, which saw them tackle a cat and mouse style tease with an inept ease. The film also generated a kickstart in 1990s thrillers taking dark seedy routes to provoke a reaction, with David Fincher’s Seven (1995) being a prime example. Since its release, an attempt at making the film into a full franchise has been tried, although these efforts have mainly fallen flat. However, the true terror of The Silence of the Lambs remains the exact same today. 

7- Audition (Takashi Miike, 1999)

Audition is a unique and complex film that relies upon its dismissal of genre tropes through a non-linear narrative, mainly influenced by surrealist elements. We follow a lonely widow, who in a desperate attempt for love opens an audition for a new companion. With Audition’s disorientating discourse we find ourselves in awkward settings that play out like a romantic comedy, but with an ever-looming presence of dread. The entire film is one drawn out build up to a terrifying climax. And it is within this slow burning tension where our fear is prolonged, and our wits confused. The film can be read as an allegory for the dramatic effects that come with the objectification of women, alongside a character study based upon the consequences of trauma

8- Misery (Rob Reiner, 1990)

As with many horror lists, Stephen King makes a second appearance with his thrillingly dark hit Misery. The film closely follows King’s original story, with the primary storybeats remaining very similar. Misery takes the premise of a “number one fan” and runs with it. We follow Paul Sheldon (James Caan), a novelist who finds himself stranded in a blizzard, but luckily Annie (Kathy Bates), rescues him and vows to take care of him…forever. What works incredibly well in Misery and allows it to be still so chilling is the belting tension that does not give up throughout the whole film. To only further this is an extremely isolating setting, where any chance of rescue is near impossible, especially when the captor disguises her real guise of an ‘angel of mercy’ so well. 

9- Ringu (Hideo Nakata, 1998)

Japanese horror has always been prevalent with classics emerging from the country since the 1960s & 1970s, with films such as Onibaba (1964) and Hausu (1977) gaining cult recognition. However, the release of Ringu saw a resurgence in Japanese horror, becoming a widely respected subgenre. The film follows a cursed video tape that releases a vengeful ghost (known as an onryō) to kill those unlucky enough to watch the haunted tape. On a deeper level Ringu reflects the structure of traditional Japanese families, with the film reflecting issues regarding the loss of a nuclear household structure as a result of the country’s fading stance within the global economy during the early 1990s. 

10- From Dusk till Dawn (Robert Rodriguez, 1996)

From Dusk till Dawn gained immediate success due to the involvement of Quentin Tarantino, however even without the garnishing of Tarantino’s legacy From Dusk till Dawn would remain a significantly paramount film within 1990s horror. The film tiptoes towards the western genre with the primary setting being in the Mexican desert as two crooks attempt to escape a saloon inhabited by vampires. This hybridisation allows for complex antagonists to shine, particularly on a visual level almost reminiscent of exploitation B-movies. Plenty of violence and extravagance is laid on display, yet it is so purposeful and truthfully entertaining that any overblown plot points just add to the excitement, rather than distract from the tone.