Anthology horror can force a hellish crusade of amalgamated visions to ultimately create a blended film artfully formed to deliver a starkly dark piece. Although this seems like a complex myriad to achieve, Dark Whispers (Volume 1) smoothly executes a faultless entry into the anthology horror terrain.
The Australian film consists of ten chilling chapters from across the entire country. With an anthology framework it can be difficult to capture an entire short story from beginning to end without being too brief, yet Dark Whispers (Vol 1) overarching framework allows for each story to shine equally, regardless of its length and overall strength as a standalone piece.
This framing has a simple premise, but it’s an age old tale that works seamlessly. Creator and director Megan Riakos presents ‘The Book of Dark Whispers’. When Clara unearths her mothers secret ‘Book of Dark Whispers’ she discovers that each page contains a cryptically twisted story that promises the most chilling scares.
One of the most noteworthy components across the entire premise is that each and every segment is directed by a female filmmaker. Of course this fact holds bountiful promises within its own right, but to have this revolutionary concept be brought into the world of horror holds a whole achievement on an impressive accord.
Amongst the cast are Ed Speleers (Downton Abbey) and Anthony LaPaglia (Without a Trace) who feature in the segment ‘The Ride’, a darkly comic thriller which was backed by the BBC and Asher Keddie (X-Men Origins: Wolverine) who is terrorised by a stalker in the chapter ‘The Intruder’.
Each haunting chapter is woven to express equal measures of devilish hope, delusions and grief, all tied together in a horrific labyrinth. In one particular segment ‘Birthday Girl’ (Angie Black), we see a nervous woman enter into an elevator from hell. Her nerves are only heightened when a somewhat innocent young girl enters the lift with her, however as each floor descends, a parade of questions are thrown upon the woman until she is left in a bumbling mess of mysterious guilt and grief.
The second segment ‘The Man Who Caught a Mermaid’ (Kaitlin Tinker) is possibly one of the most interesting chapters to originate from the entire film. The short film follows a middle aged man with an unorthodox obsession over supposed mermaids. The mockery from fellow townsmen and his wife do not bother him in the slightest as he is entirely convinced that he will be the first person to capture a living breathing mermaid… or so he thinks?
Each chapter not only explores a different topic, some even delve into alternative forms of filmmaking. Gloomy Valentine (Isabel Peppard) uses stop motion animation to portray a rather emotive story following a lost soul attempting to remould her broken heart. Stop motion is not necessarily an unfamiliar technique within horror, but it is rare and more importantly it is very difficult to achieve a strong sense of horror when the audience cannot make that physical connection to the characters. Nevertheless, Gloomy Valentine manages to both tug on the heartstrings all the whilst maintaining a steady sense of creeping unease throughout.
Quite impressively Dark Whispers (Vol 1) was selected for a plethora of festivals, including Berlin Final Girls Film Festival and Cinefest Oz. And it’s no wonder why.
Dark Whispers (Vol 1) is a unique take on the anthology sub-genre that excitedly keeps audiences on the edge of their seat. An eclectic mix of short stories with something for all tastes, as long as those tastes are twisted!.
DARK WHISPERS (Volume 1), releasing on all major digital platforms across the UK and Australia on 25th January 2021.
When the rapidly successful In Search of Darkness (David A. Weiner, 2019) hit screens audiences were gripped by its engrossing take on eighties horror and critics were enthralled by the absorbing and ambitious love letter to what is possibly one of the greatest decades in horror. Thus, it’s no surprise that In Search of Darkness: Part II burst onto the scene with deserved appraisal.
Purchase of part II included 3 posters of original artwork, copy of part I and retro pin badge.
After how much content was covered the first four and half hour entry, it bears the worry that Part II would just be a replica and repetitive. However, what we get instead is a more unique and refreshing film that delves into a variety of horror sub topics and a delightfully varied array of films that combined both well-known classics and some more obscure gems that thrived in the 1980s. The film relies heavily on reminiscence and a nostalgic sensibility, yet there is no bounding exclusivity that confines new spectators to the decade; in fact the film is almost an educative bible for those new to horror, acting as a vivacious horror encyclopaedia.
Gerreta Geretta in 80’s cult hit Demons
The four hour long runtime can be intimidating even for seasoned cinema fans, but the film uses cleverly placed sections to not only aid an easy digest for such a long runtime, but to also add depth to the surrounding contexts. As each year is discussed an additional associated topic is presented, with some of the highlighted subjects including the ever present ‘Cinema Horror Italiano- Giallo‘ and the ‘80s Italian Invasion’. Here, we are given a detailed depiction as to why Giallo cinema lingered throughout the decade and how the three maestros ‘Lucio Fulci, Dario Argento and Lamberto Bava’ ruled in power, with their graphically horrifying and pathbreaking filmmaking taking centre stage in their filmography.
Part II takes what worked well in its predecessor and accelerated it; the remarkable line-up consists of some of the biggest contributors within horror, including Tom Atkins, Linnea Quigley, Caroline Williams, John Carpenter, Tom Savini, Joe Dante, Robert Englund, and Cassandra Peterson. This comprehensive cast list had heaps of involvement within eighties horror, introducing a sense of richness to the production, with plenty of behind the scenes knowledge bringing new light to the classics.
Speaking of classics, Part II divulges into a medley of films ranging from slashers to harrowing revenge tales. Rather than solely discussing the big mainstream hits of the decade, we are shown the somewhat forgotten hits such as Alone in the Dark (Jack Sholder, 1982), April Fool’s Day (Fred Walton, 1986), Mother’s Day (Charles Kaufman, 1980), Vamp (Richard Wenk, 1986), and House (Steve Miner, 1985). To accompany each film is an enlightening insight into the cultural context that most of these films were released in.
One particular area that is deeply discussed in relation to Hollywood Chainsaw Hookers (Fred Olen Ray, 1988) is the video nasties. As home video soared so did the number of so-called ‘exploitative’ horror films on the market. Unfortunately, due to a mass moral panic over the British public’s wellbeing, 72 films were banned in the UK over fears of them corrupting children’s minds. Part II divulges into this important era for horror through discussing both the absurdity of the nasties and which films were the most prominent.
The film is clearly a demonstration of dedication to a beloved genre. From the outset a sense of togetherness is displayed, that depicts horror as a one-of-a-kind genre that manifests devoted fan bases and remarkable characters that linger within pop culture. Whether or not you are a diehard eighties fan or a newcomer, In Search of Darkness: Part II has something for everyone.
If you want to be part of the ISOD community check out their YouTube, where they are delivering regular interviews with 80’s legends for their new CLIPSHOW.
We interviewed creator Robin Block and director David A. Weiner back in October 2020, in an exclusive interview for the festival where we played Part I to celebrate the release of Part II.
2020 was a rough year to say the least, whist we saw a brilliant emergence of indie cinema taking centre stage, big budget horror was burdened with delays, reshoots and rescheduled release dates.
Dead Northern brings you a list of 2021 releases to look forward to, here’s hoping for a time not too far away where we can see some great new horror on the big screen!
Last Night in Soho
Edgar Wright is known for his quick witted, dark humour often seen in his beloved smash hits, including Hot Fuzz (2007) and The World’s End (2013), but it seems that his most well known and respected film amongst horror fans is the boundlessly successful Shaun of the Dead (2004). And it seems that Wright has decided to brave the horror genre yet again in his upcoming film, Last Night in Soho.
However, this soon to be success does not tap into comedy to deliver its scares, instead Wright has opted for a more daring psychological horror narrative. Little has been released about the plot, but what we do know is that we follow a young woman who is enthralled by the fashion industry, but when her mysterious journey takes her back in time to 1960sLondon she discovers that everything is not as it seems. Last Night in Soho has an impressive cast lineup as both Anna Taylor-Joy (The VVitch) and Matt Smith (Doctor Who), alongside Thomasin Harcourt McKenzie (Leave No Trace) star in this upcoming dramatic tale ridden with deception and enigmas.
Release date: 23rd April 2021
Spiral
In 2004 Leigh Whannell and James Wan released the sleeper hit Saw, which soon shook the genre and has since amassed an entire iconic franchise. And 2021 delivers us the ninth instalment in this ever growing series. Similar to its predecessor ‘Jigsaw’ (The Spierig Brothers, 2017) the film will alter its direction to focus upon the police investigation into the excessive, twisted games that Saw is known for. Comedy icon Chris Rock takes the lead role as detective Zeke Banks, with Samuel L. Jackson starring as a respected police veteran. But, no need to panic, this is not a tepid crime mystery. The teaser trailer promises that Jigsaw’s maniacal games will yet again grace our screens. Spiral hints that it will resurrect the charm of the beginning of the series, with the director of Saw 2,3, and 4 Darren Lynn Bousman returning as Spiral’s director.
Release date: 21st May 2021
The Conjuring: The Devil Made Me Do It
When The Conjuring (James Wan, 2013) was released it took the genre by storm, with an entire cinematic universe forming. Therefore, it’s to no surprise that this smash hit of a series was continued, with The Conjuring: The Devil Made Me Do It making its mark as the eighth instalment in the constantly expanding series. The film narrows in on the classic demonic possession trope to elaborate on the real life harrowing trial of Arne Cheyenne Johnson, who was charged for murder. However, according to Johnson, it was the devil who made him do it. This film is set to be a fresh take on the typical haunted storyline that the cinematic universe follows. Both Patrick Wilson and Vera Farmiga return as the paranormal investigating duo ‘The Warrens’.
Release date: 4th June 2021
Candyman
It’s safe to say that Jordan Peele has become a modern horror legend, with both Get Out (2017) and Us (2019) becoming solid favourites amongst both critics and audiences. Peele only furthers this legacy with his latest partnered venture, a sequel to the 1992 classic Candyman (Bernard Rose). To bring such an iconic story back to the big screen requires a fresh look at what made the original so terrifying, and it seems that Peele has found this within Nia DaCosta, who not only directs the film, but also co-wrote it alongside Peele. The trailer promises a macabre, tense and overall chilling reprisal of the Candyman legend. But, what horror aficionados will be looking forward to most is that Tony Todd will be back as the dreaded Candyman.
Release date: 27th August 2021
Don’t Breathe 2
The long awaited sequel to Fede Alvarez’s 2016 horror hit will finally be released this year, with its production being in talks for years. The same tense atmosphere will yet again be captured as Stephen Lang reprises his role as the intriguing Norman Nordstrom, who has become somewhat of an anti-hero since the films release, with audiences taking a liking to his dark and twisted character. Instead of the reverse home invasion route that the first film took, director Rodo Sayagues (who co-wrote Don’t Breathe) focuses upon Nordstrom’s journey into solitude; he has since rescued a young orphan and taken her under his wing. However, their isolated lifestyle in a secluded cabin is soon disrupted when a group of merciless criminals kidnap Nordstroms only companion.
Release date: 13th August 2021
Halloween Kills
Michael Myers has once again proven his immortality as he strikes Haddonfield once again. The film will pick right up where Halloween (2018) left off, with Laurie (Jamie Lee Curtis), Karen (Judy Greer), and Allyson (Andi Matichak) teaming up as a triple threat against The Shape to finally end the chaos. Halloween Kills will see an exciting revival of characters as both Tommy Doyle (Anthony Michael Hall) and Lindsey Wallace (Kyle Richards) return as disgruntled adults traumatised from their childhood experiences of Myers wrath. Quite interestingly Halloween Kills is not a solo story, instead we will see a focus on Haddonfield’s collective trauma and anger over the community’s dismantlement that Myers has so wilfully caused.
Release date: 15th October 2021
There’s Someone Inside Your House
Just the title alone is enough to bring audiences back to the ever nostalgic teen horrors that made its mark within the late 1990s. There’s Someone Inside Your House is a promising upcoming slasher horror directed by Patrick Brice. Brice’s natural talent for creating an incredibly chilling atmosphere was showcased in Creep (2014), and although both films are on opposite ends of the genre, it’s clear that this sense of eerie mysteriousness will definitely melt into There’s Someone Inside Your House. This film is an adaption of Stephanie Perkins 2017 book of the same title; throughout the story we follow Makani (Sydney Park), a transfer student from Hawaii who is at the centre of a series of ghastly murders.
Release date: February 2021
Run Sweetheart Run
Run Sweetheart Run is based upon a horrendous true story from the director Shana Feste. The film tells the harrowing tale of Cherie (Ella Balinska), a single mother who decides to finally tiptoe back into the dating scene. However, after her boss sets her up on the blind datefrom hell, she has to fight for her life in an after hours L.A. where she cannot trust anyone. The powerful undertones of danger within urban dating for women alludes an unfortunately realistic situation. Early reviews from festival runs hint at Feste’s superb spin on cliched genre tropes, which is only further highlighted by the bold and bloody narrative that is not afraid to imitate thousands of survivors’ stories of trust and betrayal.
Release date: TBC
Terrifier 2
Clowns and horror go hand in hand, and no clown is more sinister and utterly sadistic than Art the clown. Art’s first appearance originated from Damien Leone’s short films The 9th Circle (2008) and Terrifier (2011). And since then he has featured in four feature films, with the latest being Terrifier 2. The upcoming independent film was primarily funded by an extremely successful Indiegogo campaign, which was aimed to fund impressive effects that Leone has planned. With the success of the campaign and the constant pushing back of release dates fans have never been more excited to see Art do what he does best- completely annihilate. Little has been released about the plot, but the teaser trailer promises an absolute bloodbath.
Release date: TBC
Antlers
Antlers is a supernatural horror produced by Guillermo Del Toro and directed by Scott Cooper. The film is adapted from writer Nick Antosca’s acclaimed short story ‘The Quiet Boy’. We follow Lucas Weaver (Jeremy T. Thomas), a young school boy whose strange behaviour is soon noticed by his teacher Julia Meadows (Keri Russell), who alongside her brother Paul, the local sheriff (Jesse Plemons) attempt to solve the mystery plaguing Lucas. The trailer showcases a dull town, drowning in monotonous habits. That is until strange occurrences start making themselves known.
Release date: 17th April2021
A Quiet Place Part II
A Quiet Place Part II follows on directly where the first film ended. Evelyn (Emily Blunt) and her three children attempt to survive in an almost post-apocalyptic landscape heaving with sound sensitive beasts and ruthless fellow survivors. Despite John Krasinski’s lack of personal appearances in A Quiet Place Part II, he will still be behind the camera as he returns to the directors chair. However, rather than just follow our four main characters in a desolate universe, we will be introduced to Emmett (Cillian Murphy), who is seemingly Evelyn’s only ally left in the entire world.
Release date: April 2021
Wrong Turn: The Foundation
The Wrong Turn series has been making people fearful of going into the woods for years. But, it seems that no one has listened as we are delivered a seventh instalment in the highly gruesome series. Wrong Turn: The Foundation is a rebootof the very first film that started it all, but with a twist. The trailer introduces us to a group of friends as they brave the Appalachian Trail, only for their expedition to be abruptly ruined when a group of murderous individuals known as ‘The Foundation’ brutally threaten their entire existence. What’s quite interesting however is that this latest take on the backwoods trope has an essence of cult horror that promises to showcase The Foundation as a savage community aiming to harm anything that gets in their sense of union.
Release date: 26th January 2021
Red Dot
Red Dot is a Swedish Netflix original that follows a couple as they brave the night camping in a snowy setting in the mountains of North Sweden. However, the cold seems to be the least of their problems as a random, glowing red dot finds itself following their every move. In this tense horror we will see a sense of isolation and anonymity forming together to disrupt any chance of the audience getting comfortable. The mysterious sniper dot acts as the perfect villain, with no chance of them getting caught.
Release date: 11th February 2021
The Banishing
The Banishing is a gripping horror set in a grand country manor. The naturally haunting setting is reminiscent of classic gothic horror, laden with sweeping foyers and old time’ ghouls. The film follows Marianne (Jessica Brown Findlay), who moves into an ominously dark estate with her husband and young daughter in the 1930s. Director Christopher Smith is no stranger to horror, with him directing both Severance (2006) and Triangle (2009), and his latest venture is sure to be just as much of a smash hit, with boastful reviews flooding in from last year’s festivals.
Release date: 8th April 2021
The Manor
Horror writer and director Axelle Carolyn brings us The Manor, an eerie supernatural horror following a woman who has been reluctantly moved into a nursing home after suffering a stroke. However, her journey to recovery is cut abruptly short when she convinces herself that a strong paranormal force is preying upon her fellow residents. This film is a part of the Welcome to Blumhouse series released exclusively on Amazon Prime Video and will be released at some point later this year.
Release date: TBC
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
The 1970s were a turning point for horror cinema, with its stylised richness protruding as a primary ground layer for the progression of the genre. Although not as bloodstained as the following decade, the films did ambitiously introduce audiences to a more gruesome and barbaric taste for cinema. It’s this slow burning horror that craftly handled savage imagery alongside sophisticated haunting visuals to create exciting films whose reputation has lingered long within the horror genre.
However, the 1970s were a time of classics that have almost stolen the spotlight off of many underrated films that deserve just as much recognition.
Instead of focusing on the immensely successful Halloween (John Carpenter, 1978), The Exorcist (Willam Friedkin, 1973) and Alien (Ridley Scott, 1979) this list will cover the forgotten wonders of such an influential decade.
1. The Blood on Satan’s Claw (Piers Haggard, 1971)
In rural 17th England a small village’s harmonious layout is disrupted when local farm landsman Ralph (Barry Andrews) unearths a decayed unidentified skull within the land. The discovery summons evil to the area, with the youth of the village soon inhabiting the role of devil worshippers to raise hell on earth.
This film belongs to the unholy trinity of folk horror, with the other two films being Witchfinder General (Michael Reeves, 1968) and The Wicker Man (Robin Hardy, 1973). Throughout The Blood on Satan’s Claw Haggard attempts to mimic the liberal attitudes from communities of the late 1960s through the metaphorical demonisation of such attitudes. The ‘hippie brigade’ from the prior decade became somewhat of a moral panic, but in reality freedom was their primary motive. And quite literally this film uses the devil worshipping children as the antagonists to mock the rather absurd reserved opinions of the time.
Its not just the critical commentary that makes this film rather significant to seventies horror, its also the haunting use of folk elements to illustrate the horror. There is an essence about rurality that fashions the countryside as being dark and tempting, the rooted soil comes across as mysterious, with the forest being witness to all kinds of satanic rituals over time. The Blood on Satan’s Claw rejuvenates fables as a horrific curse set upon any form of society who is brave enough to set foot on its historical land.
2. Let’s Scare Jessica to Death (John Hancock, 1971)
The film follows Jessica (Zohra Lampert) who has been recently released from a psychiatric institution. To get a fresh start Jessica alongside her husband and a friend move to a secluded farmhouse. After finding the beautiful Emily (Mariclare Costello) already occupying the house Jessica sympathises and invites her in. But, of course it’s not long until the new beginning loses its balance as strange occurrences begin to stir. Let’s Scare Jessica to Death premise is simple at its roots, but the horror that ensues is far from ordinary.
The film builds its tense infrastructure upon the questioning of whether the horrific events are just psychological delusions of Jessica’s, or are they actually threateningly real. Hancock achieves a multi-layered fright fest through the elaborate combinations of evoking visuals as well as a gradual untrusting story path.
The audience question the direction of the film, is Emily’s presence truly evil or is she an innocent young woman being persecuted for unsettling legends. All of this is executed through such a poetic form that gently presents a foreboding horror that seems to leap into true terror out of nowhere shocking audiences and leaving its mark.
3. Don’t Torture a Duckling (Lucio Fulci, 1972)
Don’t Torture a Duckling is a classic Giallo film that follows the sleepy and mystifying town of Accendura in Italy whose occupants have been plagued by a series of child murders. Giallo cinema is richly dense in stunning sights and graphic imagery showcasing alluring women with a wash of vulgarity and voyeurism. Fulci takes these aspects and runs with it, not only does the film showcase these elements, but it also combines a typically unpalatable narrative to create a unique film that excels both visually and narratively. The murder mystery element is not lost amongst the horror as the whodunit aspect remains strong throughout. This rare element of excelling in every aspect is one that Fulci seems to achieve so flawlessly.
Somehow he weeds through the juxtaposed subjective themes of secretive perversion amongst a backdrop of glowing rural Italy with ease. The Giallo movement erupted in the 1970s thanks to Fulci, Argento and Bava. With the archetypal eye trauma, gore and noir-esque quality becoming rites of passage in each film. Yet, Don’t Torture a Duckling drew away from these moulds through the heavy focus of psychological terror of child innocence being corrupted.
4. Sisters (Brian De Palma, 1972)
Legendary director Brian De Palma brings us Sisters, a dark horrific thriller that follows a journalist as attempts to investigate a murder that she witnessed. Sisters is a deeply analytical film that takes clear inspiration from Hitchcock’s auteur framework through the transparent use of voyeurism as a storytelling tool. Despite the clear homage the film is still an elaborate horror within its own right, not only does it feed through a complicated narrative without confusion, De Palma additionally conveys a morbidly lit psychological film that remains incredibly influential.
But one aspect that truly surges the film’s solid reputation as a tour de force within horror is the striking medley of exposition performed through aspects such as split screen, alternating aspect ratio and colour transitioning. This bounds the viewer in a lucid trance whilst watching, all the whilst disrupting any sense of familiarity or ease.
5. Ganja and Hess (Bill Gunn, 1973)
Dr. Hess Green (Duane Jones) is stabbed by an ancient blade that transforms him into a bloodthirsty vampire. Soon after he meets the beautiful young woman Ganja (Marlene Clark), who is yet to know of his dark secret. This film belongs to the extremely underappreciated blaxploitation subgenre of horror. Ganja and Hess is a tale of vampirism through an experimental framework. Unfortunately, the film has been considered dated, with poor cinematography tarnishing its reputation; however to look at it in an alternative light it could be argued that the use of negative space and burnt imagery contributes to the overall feel of the film.
Gunn uses the age old tale of the vampire to portray a love story built upon fractious grounds. It’s this amalgamation of romance and horror that contribute to the surreal avant-garde quality that thrives throughout. This heavily surreal atmosphere makes it a standout film that provides an artistically strong piece of cinema that pushes it ahead of its time. Ganja and Hess certainly stands out due to its arresting tones of addiction and the struggle that inherently accompanies eventual redemption.
6. Eraserhead (David Lynch, 1977)
The film follows Henry Spencer (Jack Nance), a doomed factory worker who lives in an industrialised city. His hapless life soon takes a turn for the worse as he attempts to care for his mutant screaming newborn. Eraserhead defies all expectations as the desolate horrid environment encapsulates the hallmark disastrous aesthetics that Lynch so flawlessly pulls off. The film is an exercise of disturbance through a nightmarish world that disavows comfortability and reassurance.
The distorted reality is placed upon the viewer; not once are we sure of the surroundings, everything is the opposite of home and nothing steers away from the bizarre. In retrospect the film is anything but enjoyable, but due to Lynch’s engagingly ineptness we cannot help but stare at the dystopian story presented to us.
7. House (Nobuhiko Obayashi, 1977)
House follows a group of schoolgirls as they travel to a country home, however it’s soon discovered that the house is haunted. House is a complete fever dream that toys with the viewers perception of reality throughout the entire film. The generic title and concept is not to be underestimated as it gradually becomes one of the most nightmarishly ambitious films of the entire decade. It uses almost every special effect available at the time including animation, backdrop paintings, collage animation and blue screen.
Alongside, the enigmatic visuals are the deeply laden cinematic storytelling methods. Obayashi was contacted by Toho Co. (producers of Godzilla [1954]) to make a film that mimicked the success of Jaws (Steven Spielberg, 1975). And Obayashi did just that; House was a box office success in Japan, but it was gravely crucified by critics. And it seems that these reviews had somewhat plagued its reputation as the film has seen only a cult status keep it alive.
8. Tourist Trap (David Schmoeller, 1979)
Tourist Trap follows a group of friends as they become stranded at an isolated museum filled with creepy mannequins. Their fate soon takes a turn for the worse when the mannequins seemingly come to life… Tourist Trap owes its ferocity to its clear inspirations from classic gothic horror and road trip films.
However, rather than directy take or use these elements to create a typical horror that has been seen countless times before, Schmoeller twists these tropes to create a horrifying slasher hybrid with dark comic factors thrown in for good measure. The horror within Tourist Trap is highly reliant upon atmosphere and tone, and the dingy setting of a secluded museum immediately sets up a haunting vibe that exemplifies terror.
9. Martin (George A. Romero, 1977)
George A. Romero was one of the most influential horror directors, with his foreboding Night of the Living Dead series being the most iconic zombie franchises of all time. But, for a director as prevalent as Romero, Martin receives so little recognition. The film follows Martin (John Amplas), a young man who is convinced that he is an Old World vampire. And as vampires do he ruthlessly engages in the act of blood drinking. As with most of Romero’s filmography there is a fair share of social commentary as well as generous gore.
The film does not fall victim to the highly conventional portrayal of vampires by romanticising them as some sort of medieval lustful soul. Instead Martin is a pure villain, who despite him being the central character is a twisted depressed man who does not think twice about raping one of his victims. What makes Martin a strong contender within 1970s horror is its balance between presenting the mundane and then switching to provoking horrid scenes within the flick of a switch.
10. Mumsy, Nanny, Sonny and Girly (Freddie Francis, 1970)
The film follows Girly (Vanessa Howard) and her brother Sonny (Howard Trevor) as they lure unsuspecting victims back to their house to Mumsy (Ursula Howells) and Nanny (Pat Heywood) to play a twisted game of happy families. Francis based the film upon a play by Maisie Mosco titled ‘Happy Family’, whose influence remains strong throughout the film.
Francis’s vision of Mosco’s work is criminally underrated as it receives little attention despite its fantastically twisted story that is the groundwork for many psychopathic family based horrors. At the time of release Britain was a divided nation between audiences who encouraged liberal cinema and those who fought against such ‘indecency’. And Francis’s film played with this battle with strong themes of incest and suggestive relationships being hinted at throughout.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
This weeks horror news round up comes from Grace at Film Overload!
Wrong Turn trailer brings back The Foundation in the long awaited reboot
The Wrong Turn series has gone from one gritty horror released 17 years ago to a mass recognised franchise, with a seventh instalment being released next year. When news broke that the Wrong Turn series was to be continued fans immediately rejoiced, and it seems that they were right too as the new trailer for the upcoming flick promises a blood soaked thrilling chase.
The basic premise is simple, but effective; we see Jen (Charlotte Vega) alongside a group of friends who take on the brave decision of hiking the Appalachian Trail. But as with all the Wrong Turn movies the situation is never as it seems, as they are soon confronted by a disturbed group known as The Foundation. Quite interestingly this instalment will not just be another sequel, but instead a reimagining of the first film. Wrong Turn will be released in January 2021.
Ben Wheatley’s In the Earth releases teaser trailer
A teaser trailer for Ben Wheatley’s new horror ‘In the Earth’ has dropped, which shows us a hint into the foreboding slow burn terror that is sure to ensue. Quite aptly the film follows a virus based storyline in which we see a park scout and a scientist on a routine trip into the forest for equipment. However, the earth around them really does have a life of its own.
Wheatley’s environmental based horror is sure to please audiences as his two of his previous ventures into horror, Kill List (2011) and A Field in England (2013) both use rural settings as a unique storytelling device. Wheatley rather quietly filmed In the Earth throughout the Coronavirus pandemic, with a surprise announcement that the film will have its premiere in 2021 at the Sundance Film Festival.
FX developing Alien the TV show
When Ridley Scott’s Alien hit screens in 1979, it was an immediate hit with the film soon becoming a critically beloved classic. Its reputation has only continued to soar with a tv series being produced based off of the iconic sci-fi horror. Disney recently announced that writer Noah Hawley, whose previous credits include Fargo and Legion is set to recreate Scott’s terrifying vision of an undiscovered alien colony.
The series has been promised to be just as thrilling and fast paced as the original, with FX developing the series to pay homage to Scott’s vision as much as possible. An official release date has not been confirmed, but it is expected to be sometime next year.
New revenge horror Violation is set for a Shudder release
Shudder has acquired the rights for the new revenge horror Violation. The film is directed by Madeleine Sims-Fewer and Dusty Mancinelli, with Sims-Fewer also starring as the brave Miriam who takes it upon herself to exact revenge. Violation promises a torturously emotive horror that tackles bold toxic topics involving sexual violence and gaslighting.
The film has received rave reviews so far, with Sims Fewer receiving the TIFF Rising Star award as well as the Sundance Film Festival 2021 picking it up for its international premiere. Shudder will showcase Violation in New Zealand, UK, Ireland, Australia and the US next year.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
This weeks horror news round up comes from Grace at Film Overload!
Halloween Kills officially rated R, with Michael Myers promising a bloody Halloween
After the beloved Halloween franchise was rebooted in 2018, David Gordon Green was immediately signed to make another two films to continue Michael Myers’ sick game of fulfilment. And it seems that the upcoming Halloween Kills will bring us one of the most graphic entries throughout the entire series. The film has officially been rated R by the Motion Picture Association, which will not be suitable for anyone under the age of 18 due to violent images and grisly content.
The highly anticipated sequel will continue from where its predecessor left, with us following Laurie Strode (Jamie Lee Curtis) as she battles the unstoppable Myers alongside Haddonfield residents in a vengeful mob style hunt. Also making an appearance are the characters of Tommy Doyle and Lindsay Wallace (Anthony Michael Hall and Kyle Richards) who featured heavily in the original 1978 as the children who Laurie babysat on the night where it all started.
Hocus Pocus 2 confirmed for a Disney+ release
Fans of the classic Halloween favorite rejoice as the long awaited Hocus Pocus 2 is finally announced. Since 1993 the Sanderson sisters have become cult classic characters, with the film garnering quite the successful reputation. Adam Shankman (Rock of Ages and Hairspray) is set to direct, alongside Shankman is Jen D’Angelo (Workaholics) who will be responsible for writing the sequel. Speaking of sequels, whether or not this will be a direct sequel with the story from the original being directly continued or not is yet to be revealed. But what we do know is that Bette Midler, Sarah Jessica Parker and Kathy Najimy will reunite once again to wreak havoc upon the town of Salem.
Shudder brings the festivity to horror, with both Joe Bob Briggs and Creepshow Christmas special
Shudder embraces the Christmas season with both ‘A Creepshow Holiday Special’ and ‘Joe Bob Saves Christmas’ premiering on Shudder this December. Creepshow fans were given an animated special for Halloween, which generated mixed responses, but with restrictions easing the upcoming holiday special will return back to live-action filmmaking.
In a trailer released earlier this week we get a glimpse of all the chaos that ensues, with the plot revolving around one long segment ‘Shapeshifters Anonymous’. The story follows a troubled man seeking answers over his unusual situation… Greg Nicotero’s Creepshow Holiday Special premieres on Shudder on December 18th.
Festive horror is a difficult subject to tackle, so why not have the legendary Bob Briggs go through the best and the worst of the bunch in The Last Drive In Christmas special ‘Joe Bob Saves Christmas’. Little has been released about what films will be discussed, but firm contenders could be Black Christmas (Bob Clark, 1974), Silent Night, Deadly Night (Charles Sellier, 1984), and Christmas Evil (Lewis Jackson, 1980). The special premieres on Shudder on December 11th.
Neil Marshall’s new periodic horror ‘The Reckoning‘ set for a February 2021 release
Neil Marshall shook the horror genre with his incredibly influential film The Descent (2005), and his natural talent for creating claustrophobic environments plagued by evil forces is continued with his latest film The Reckoning which is set in early 17th century Britain; a time where both the plague and witch hunts were rife. Suitably the film follows a young woman as she is accused of being a witch after her husband’s passing.
Marshall carefully evokes terror through utilising the natural environment’s dark aesthetic to exaggerate the horror and provoke a sense of atmospheric inescapable dread. If the early rave reviews from Fantasia International Film Festival 2020 are anything to go by audiences are in for a treat for its release both theatrically and via VOD in early February 2021.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
This weeks horror news round up comes from Grace at Film Overload!
Peter Dinklage to star in The Toxic Avenger Remake
Game of Thrones star Peter Dinklage is set to star in the upcoming Toxic Avenger remake. His role has not yet been revealed, but fans hope he stars as the film’s anti-hero lead. The Troma Entertainment produced classic was released in 1984 and was rather ignored until it eventually became somewhat of a cult hit, with multiple sequels and a TV series following.
The remake has been in talks since 2010, however after a series of setbacks the wheels have finally started turning as Macon Blair is set to write and direct. Blair made his directorial debut in 2017 with the gripping crime drama I Don’t Feel at Home in This World Anymore. What’s even more promising is that Troma founders Lloyd Kaufman and Michael Herz are producing the upcoming remake.
Suspiria co-writer and legendary Giallo star Daria Nicolodi tragically passes away
Daria Nicolodi was an iconic horror legend, with her talents breaching into both acting and writing. Nicolodi alongside her partner Dario Argento wrote the Italian classic Suspiria (1977). Continuing on from the success the two continued their collaboration with her starring in many Giallo staples including Tenebrae (1982), Opera (1987), and Phenomena (1985).
Gremlins 3 is in the works, with the script in finalisation stages
As with most cinema successes a chance of continuation is always in the works and Gremlins is no exception. The return of the beloved mogwai’s have been talked about for years, but this week we were given a promising hint that the series may soon turn into a trilogy, with Gremlins writer Chris Columbus revealing that an entire script has been written.
2020 marks 30 years since the last Gremlins film, but with this news it is definitely possible that Gizmo will soon return to our screens.
Horror royalty Robert Englund joins the cast of Stranger Things
Stranger Things has become one of the biggest television hits since it premiered on Netflix in 2016. With three seasons behind it’s belt and a fourth in the running it seems that even major stars such as Robert Englund couldn’t resist joining in on the action.
Englund is known for his role as the evil yet loveable Freddy Krueger in the classic A Nightmare on Elm Street (Wes Craven, 1984). His villainous triumph will only continue as he will play the convicted murderer Victor Creel. Stranger Things has returned to filming, with an expected release date sometime next year.
An exciting week for horror as Host gets a general release and Freaky hits VOD
Although 2020 has seen many productions come to a halt, an array of amazing films have still been released. Despite the short time that Freaky and Host experienced in cinemas it seems that avid viewers will get a chance to watch them yet again. The sensational superhit Host became a major success when it landed on Shudder earlier this year.
Since it’s release director Rob Savage and writers Jed Shepherd and Gemma Hurley have signed on to create three films with Blumhouse Productions. One of Blumhouse’s latest releases Freaky also came as quite the surprise, with rave reviews flooding its consensus. If you didn’t get the chance to check these films out, Host will have a wide theatrical release on the 4th December and Freaky will be released via VOD on the 4th December.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
Anthology cinema can be described as a linking of shorter separate films via an overall framework. These types of films work in a way that keeps audience’s attention focused and drawn into the appeal of quick multiple stories.
With horror somewhat originating from short folk tales and fables being told by multiple individuals to create one giant mysterious story it is no surprise that the genre commonly works in partnership with an anthology structural composition. In speaking with how anthology horror works on a varietal standpoint rather than a solo platform it can be said that the miscellaneous splintered nature can at times become muddled and non-concurrent. So, to divulge into this stellar sub-genre, here is our list of ten must-see anthology horrors…
1. Dead of Night (1945)
Directors: Alberto Cavalcanti, Basil Dearden, Charles Crichton and Robert Hamer
It has been said that this absolute horror classic is possibly the first anthology horror film. With the Golden Age of Hollywood looming in the background many alternative films were made in counteraction. These films opted for gruesome ghouls and haunting villains, with Dead of Night being one of the classic films from the 1940s. The film follows Walter Craig (Mervyn Johns) as he finds himself in a cryptic house in the English countryside where the guests seem all too familiar to him, despite never having met them.
Dead of Night dips into the originator of horror: dreams. As the film drifts from nightmare to nightmare we witness a series of horrible stories ranging from car accidents to haunted mirrors, but the most iconic and familiar story is the tale directed by Alberto Cavalcanti. The Ventriloquist’s Dummy is the prototype of terrifying dolls and dummy’s that filmmakers would be influenced by for years to come. Nothing lingers longer than that unnerving image of Hugo the dummy (Michael Redgrave) staring straight down the camera lens towards the viewer.
2. Creepshow (1982)
Director: George A. Romero.
In continuing with the cardinals of horror anthologies, we have the legendary George A. Romero attempt at anthologies with Creepshow. What makes this film such a paradigm of the genre is its rich knowledge and treatment of horror; every film is laden with frightening iconography and chilling villains. These aspects are mainly thanks to Romero’s evident homage to classic horror comics from EC of the 1950s including ‘The Vault of horror’ and ‘Tales from the Crypt’.
However, Romero was not alone in creating a horror to remember as the renowned Stephen King was heavily involved in the production as well as being the screenplay writer. Alongside King and Romero was also the godfather of special effects, Tom Savini. Savini was responsible for the extraordinarily comic book-like effects throughout the film. Creepshow speaks for itself, but one segment to definitely keep an eye out for is The Crate.
3. V/H/S (2012)
Directors: Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, and the filmmaking collective Radio Silence.
V/H/S is one of the newer additions on this list, with the film storming onto the scene in 2012 with a generally positive consensus. Alongside this the film has become one of three, with V/H/S/2 (2013) and V/H/S Viral (2014) soon following. The narrative is loosely tied by an overarching story of a group of criminals who break into a house to find a mysterious VHS tape, however upon entering they find a dead man in front of a static TV as well as hundreds of anonymous tapes. The terror truly begins when they start to make their way through the videos with each segment being one of the tapes being played. V/H/S cleverly uses the found footage technique to present each of the 5 segments.
As with all anthologies some segments take the limelight and carry the film, this is the case especially with both Amateur Night (David Bruckner) and The Sick Thing That Happened to Emily When She Was Younger (Joe Swanberg). Amateur Night is the first segment and one of the most memorable. It seems that this success continued as the short was made into a feature film in 2016 called Siren (Gregg Bishop). Although Swanberg’s short has not expanded outside of V/H/S, it is possibly the most terrifying and unique segment out of the series; it was filmed as a desktop horror via a webcam setup that positions the viewer closely with the events.
If the idea of desktop horror interests you, check out our previous article all about this latest sub-genre.
4. Three… Extremes (2004)
Directors: Chan-wook Park, Fruit Chan, Takashi Miike.
Three… Extremes does not shy away from disturbing content, with each segment giving equal treatment to both startling visuals and harrowing narratives. The film does not have little or any entire framework where connections between the three sequences are made, instead the shorts are dedicated to celebrating filmmakers from East Asia, with Miike being from Japan, Chan-Wook being from South Korea, and Chan being from China. What this allows is an amalgamation of different cultures coming together in creating a superbly effective horror.
Three…Extremes is entirely memorable, with Chan’s segment being highly significant and even progressing into a feature film with the same cast and story. Dumplings is in fact the most unsettling of the three. However, to allow for the ultimate payoff, it is best to avoid any prior knowledge. But just know that once you realise what is going on, it is too late to ever forget the lingering realisation that Chan so disturbingly achieves,
5. Ghost Stories (2017)
Directors: Andy Nyman, Jeremy Dyson
Dyson and Nyman are no strangers to British horror as Ghost Stories originated from their incredibly successful stage play, alongside this Dyson is the co-creator and writer of the hilarious yet eerie British television series, The League of Gentlemen. Their collaboration makes for an utterly terrifying watch as they explore the inner workings of psychological trauma through a series of dream-like sequences.
The performances by Martin Freeman, Paul Whitehouse, and Alex Lawther, and of course Nyman himself bring the production to life, with their gripping portrayals of individuals on the edge. The stellar acting brings a level of realistic frantic chaos to the table. As with Three… Extremes the less that is said the better, but one detail that can be assured is the tense atmospheric tone will haunt the viewer long after viewing.
6. Tales from the Crypt (1972)
Director: Freddie Francis
Similar to how Creepshow was based upon horror comics, Tales from the Crypt took inspirations from a variety of EC Comics. The film has become a cult classic, with its reputation experiencing continuous growth, and it is apparent as to why. The devilishly macabre tones combined with the remorseless execution allows for an unsettling envelope of dread to be cast over the film.
Alongside this is the impressive cast line-up including Joan Collins and horror legend Peter Cushing. Instead of Francis relying upon these big names to give the film a long-lasting reputation, the stories were adapted to allow for more than just one-dimensional characters, leading to short, yet detailed studies. Tales from the Crypt achieves a perfectly horrid tension that only brews richer with each segment. As these union of shorts combine at the end, a truly dreadful fate for the characters is finally revealed by the Crypt Keeper himself.
7. Cat’s Eye (1985)
Cat’s Eye is Stephen King’s second entry onto this list, with him being the writer of this underrated 1980s classic. The tales are loosely tied together, with an ominous travelling cat being the glue for the three stories. Each segment almost plays out quite realistic with less flamboyant fables than King’s earlier efforts.
Due to this we experience harsher horror where the premise is rather real and effective in gauging a reaction from the audience. But what shines through the most in Cat’s Eye is the morbidly lit humour that peaks in and out, with King heavily playing on the humorous anecdotes that worked so flawlessly in Creepshow.
8- The ABC’s of Death (2012)
Directors: Nacho Vigalondo, Adrian Garcia Bogliano, Ernesto Diaz Espinoza, Marcel Sarmiento, Angela Bettis, Noboru Iguchi, Andrew Traucki, Thomas Malling, Jorge Michel Grau, Yûdai Yamaguchi, Anders Morgenthaler, Timo Tjahjanto, Ti West, Banjong Pisanthanakun, Hélène Cattet and Bruno Forzani, Simon Rumley, Adam Wingard and Simon Barrett, Srđan Spasojević, Jake West, Lee Hardcastle, Ben Wheatley, Kaare Andrews, Jon Schnepp, Xavier Gens, Jason Eisener, and Yoshihiro Nishimura.
The ABC’s of Death is possibly one of the most unique films on this list as it boasts a total of 28 directors for 26 segments. The premise is simple, each letter of the alphabet is given its own short story, with director Ben Wheatley being assigned the letter U for Unearthed and so and so forth. What this creative concoction results in is a complete barrage of the grisliest tales where a medley of topics and techniques are explored including, Claymation, POV footage, vampires, zombie clowns, body horror and humanoid animals.
The film was released with wide acclaim due to the sheer creativity and atypical composition. This reputation has only continued to grow with two films following the first, both aptly titled ABC’s of Death 2 and ABC’s of Death 2.5. With a variety as wide as The ABC’s of Death there is bound to be something for everyone.
9. Black Sabbath (1963)
Director: Mario Bava
Mario Bava had held his acclaimed reputation as an infamous master of horror, with films such as Blood and Black Lace (1964) and A Bay of Blood (1971) heavily defining his long career. However, a film that has slipped under the radar as time has passed is Black Sabbath. Each of the three segments are all heavily focused on creating a stingingly dark, yet visually pleasing look.
Of course, the film features an array of atmospheres as the characters positions alter within the story. The segment to keep an eye out for the most is the second instalment, The Wurdulak. This section famously features Boris Karloff, who played Universal Pictures original Frankenstein.
10. The Mortuary Collection (2019)
To finish this list is the most recent feature, with it being released only last year. However, within its short time of being released it has soared in popularity with its premiere at the 2019 Fantastic Fest receiving rave reviews. The Mortuary Collection’s overarching framework is substantially present throughout, with each segment tying into the riveting ending.
The film works by interweaving a mix of classic and lesser known urban legends to tell its story. But what truly allows the film to stand out is its vintage overtone that runs throughout, with the main story being acted out in a burgundy and mahogany toned mortuary that emulates a classic haunted vibe straight out of the manors held famous in classic horrors.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
This weeks horror news round up comes from Grace at Film Overload!
Scream 5 update: filming has officially wrapped and titled revealed…
That’s a wrap on Scream, which I’m excited to announce is the official title of the next film! Nearly 25 years ago, when I wrote Scream and Wes Craven brought it to life, I could not have imagined the lasting impact it would have on you, the fans. (1/3) pic.twitter.com/RCuhVUclG4
In 1996 an entire genre was revived with Wes Craven’s Scream. So it’s no surprise that the series is being expanded with a fifth film being added to the series. With the exciting news being released earlier this year fans have been on the edge of their seat waiting for some new information. And it seems we can finally get some details, with the original Scream writer Kevin Williamson revealing via Twitter that filming has wrapped up with an expected release date of January 2022.
Alongside this he teased us with the official name of the long awaited fifth film- Scream. Although simple and the exact same as the film that started it all, it nails the satirical simplicity that Craven perfected all those years ago.
Another Stephen King adaptation is in the works with ‘The Girl Who Loved Tom Gordon’ being given the go ahead
Stephen King’s iconic status as a horror legend is impossible to escape, with over eighty of his books and novellas being adapted for cinema. It seems that King has done it again as his 1999 book ‘The Girl Who Loved Tom Gordon’ is set to come to life, with production beginning sometime next year.
The good news only continues as Lynne Ramsay is set to direct. This name may sound familiar as she is no stranger to novel adaptations, her filmography boasts the incredibly successful adaptations of We Need To Talk About Kevin (2011) and You Were Never Really Here (2017). With this in mind we can be assured that King’s work is in safe hands.
The box office is taken by storm with Christopher Landon’s ‘Freaky’
From the outset ‘Freaky’ soared in popularity, with the trailer receiving worldwide attention and millions of views on YouTube. It was only a matter of time till these roaring figures burst through when the film was released earlier this month. Freaky takes on the challenge of humorous entertainment alongside the gory slasher, with many describing the film as Freaky Friday meets Friday the 13th.
It was a brave decision to run this film through a theatrical release after all of the necessary restrictions that 2020 bought, but it seems to have worked freakishly well for Landon. However, it is entirely understandable as to why the film drew in such crowds as Landon’s craft for quick witted comedy whilst amplifying the scares emerged through his previous titles including the phenomenally successful Happy Death Day (2017).
Jordan Peele will return in 2022 with a new horror following both ‘Get Out’ (2017) ‘Us’ (2019) success
It has been revealed that Jordan Peele’s film production company Monkeypaw Productions will release his third horror in 2022. In 2017 Peele took both critics and audiences by surprise with the beloved Get Out, the film even made cinematic history with it receiving four Academy Award nomination, with Peele earning Best Original Screenplay.
His success only continued with the smash hit Us. Little information has been released about his future project, but if his history gives us anything to work from we are ensured a craftly executed film laden with deep social commentary on the current socio-political climate.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
Sean S. Cunningham’s 1980 hit Friday the 13th is undeniably a staple within the slasher sub-genre, with its chartered success spawning an entire franchise consisting of twelve films. The film has rightly cemented its place within horror history as a genre defining tale that combines the ideal amount of gory entertainment, teenage antics and grisly kills to satisfy audience members. Still, it’s the machete wielding immortal force that makes Friday the 13th so iconic – the one and only Jason Voorhees.
To run a brief background, Jason Voorhees is the primary antagonist in the film series, with a machete being his weapon of choice. To accompany his machete is his hockey mask which he’s rarely seen without. His taste for bloodshed all began with his troubling experience at Camp Crystal Lake in the summer of 1957 where he supposedly drowned due to the negligent camp counsellors. His rage however is not as straightforward as it seems. His own personal vengeance only directly advances in Friday the 13th Part 2 (Steve Miner, 1981).
Throughout the series Jason is very much pliable in the sense that his actions, locations and abilities change. However there is one element that remains consistent across the films, this being Jason’s tragic cycle that he has to endure. This was most poignantly made visible from the horror legend Stephen King who made a statement regarding a scenario he had created surrounding a previous novel idea he never made. He compared Jason’s existence to a ‘hellish existential fate’ and that Jason’s perspective is never explained or understood.
With this being said, it’s important to examine Jason’s catharsis throughout the series to grasp why he is a victimised villain.
Jason Voorhees is a tortured soul that possesses an inherent thirst for normality, but due to the lack thereof he has become incandescent with rage. His trouble began whilst he was only a boy, with his severe mental disabilities and physical deformities making him an easy target for cruelty growing up. His brief stay at Camp Crystal Lake only worsened his everlasting marginalisation from societal normality. He was bullied and teased at the camp, with his death being brushed aside as not an overt loss.
Jason’s only companion was his mother who worked at the camp; he would spend most of his time with her, leading to his peers mistreating him. This neglectful nature followed Jason to his death. As aforementioned the counsellors cared more for each other than his well-being. Even after his death, his corpse was never found. Which prominently led to Pamela vowing to kill anyone who steps foot on Camp Crystal Lake as she believes everyone is out to attack her son.
Jason suffered from a short-lived tumultuous childhood, but the true treacherous fragment of his being comes from his afterlife. The theology of his immortal status is rather discombobulated across the films, the first film hints that the lack of his corpse is more of an urban legend, toying with the notion ‘is he dead or alive?’; in Friday the 13th Part 2 it’s established that Jason has been alive since his supposed drowning and has been living as a vagrant in the woods.
This perfectly brings about Jason’s real introduction to the series, which would soon introduce him as a household name. In Part 2 he vows to avenge his mother’s death, leading him to follow her footsteps. In fact, he treasures his mother so much that he stores her decapitated head in a fridge. Whilst the second film establishes Jason’s urge to kill, his trademarks do not necessarily appear until Friday the 13th Part 3 (Steve Miner, 1982). Here we are introduced to his trademark hockey mask, which cements his place as an iconic villain. Additionally, the audience is shown a whisper of insight into his burrowing nature to kill. After he kills his mother’s murderer, Alice (Adrienne King [the series original final girl]) he has technically performed his prior intentions.
From then on his remorseless kills originate seemingly from a place of nothing. Jason’s fury was soothed after he murdered Alice, but he knows no better than to carry on his rampage. It could be said that Jason isn’t even aware of the consequences of his actions.
Although Jason is a structurally massive killing machine with brute strength, he hasn’t matured mentally. Slasher films heavily associate sex with violence, yet whilst Jason victims are simply exploring adulthood he views it as immoral, since his own supposed death was caused due to camp counsellors occupying each other rather than watching after him. This sense of Jason unknowingly causing harm continues throughout the entirety of the franchise, with his lack of motivation or reason to kill. However what really makes the audience team with Jason is his unsanctioned resuscitation.
In Friday the 13th: The Final Chapter (Joseph Zito, 1984) Jason is supposed to be dead, with him even being taken to a morgue, but as usual this is not entirely true. We are then taken back to Crystal Lake as Jason makes his way back home in an attempt to beckon back to his resting place. Instead of peace, he is met with rowdy teenagers and noisy families in his area interrupting his will to slumber into a dreary space of emptiness. Henceforth, his killing spree continues as a means to end the disruption.
However in what is a startling scene, we are met with the horror aficionado Tommy (Corey Feldman) who paints his face white and shaves his head to imitate a young Jason in order to force a sense of sympathy from him. His impression comes across as a form of mockery, further angering Jason. Arguably Jason simply sees Tommy as another one of his childhood bullies who would tease him for his appearance. Jason is supposedly killed at the end of The Final Chapter, but we would later learn that this is not his final appearance.
The combination of mocking and disallowance for him to die is what Stephen King brought to light. His existence is hellish and rather existential, through others actions he can never fully rest in peace as he is constantly unearthed. Even when he is not the antagonist the series finds a way to drag him into the mess; in what is the most dissociated film in the franchise, with a new setting and killer is Friday the 13th: A New Beginning (Danny Steinmann, 1985). In the film Tommy is sent to Pinehurst Halfway House to recover from his childhood trauma, whilst he is there a series of mysterious killings occur. Instead of the hockey mask machete-wielding killer being Jason it is in fact a disgruntled father who is out for revenge for his son’s untimely death.
After ‘A New Beginning’ came Friday the 13th Part VI: Jason Lives (Tom McLoughlin, 1986) which sees Jason being accidentally resurrected from his grave. When Tommy returns to Jason’s grave years later he is overcome with anger and stabs Jason with a metal fence post. However as the post hits Jason a bolt of lightning strikes and revives a now immortal Jason. Similarly, another accidental reviving occurs in both Friday the 13th Part VII: The New Blood (John Carl Buechler, 1988) and Friday the 13th Part VIII: Jason Takes Manhattan (Rob Hedden, 1989). In both films repeat occurrences happen where Jason is involuntarily awoken and then goes on a rampage with a sense of angered dread, due to the repetitive nature of his life cycle. It seems that the universe disallows Jason to remain dead. The characters wince that Jason is after them, but it is their actions that unwittingly cause the vicious pattern.
Quite ironically in the ninth film Jason Goes to Hell: The Final Friday (Adam Marcus, 1993) Jason lives on due to a coroner biting his heart, causing him to possess said coroner; living on in the coroner’s body. However in what is quite the twist of fate, the repetitive ending of Jason ‘being dead’ is given a new lease of life, with the ending hinting at what would be an iconic meeting between two horror legends. The final frame shows a dog digging at Jason’s buried mask before A Nightmare on Elm Street’s own Freddy Kreuger pulls the mask down into hell.
Before we are introduced to the crossover film we have Jason X (Jim Issac, 2001). This is probably the most convoluted film of the series, with its adventurous sci-fi tone somehow combining slasher with space. Jason X definitely has divided opinions, with many devoted fans feeling confused as to why there needed to be such a drastic alteration from the usual time and place and others seeing it as a cult classic that bends audience expectations. In terms of Jason himself, nothing immediately differs from his archetypal persona in space. Instead where we see a shift in motion is in the series current penultimate film Freddy vs. Jason (Ronny Yu, 2003).
Freddy vs. Jason is highly entertaining, with the two characters showcasing a brutal spectacular series of violently glorious kills across a group of unsuspecting teens. The film shows a ruthless Jason who rises from the earth when Freddy impersonates his mother, in order to manipulate him into coming back to life. Freddy has Pamela tell Jason that he never died, he was just sleeping and that he should go to Elm Street as “the children have been very bad on Elm Street”. Here it’s confirmed that Jason is acting on a means to obey and order via his mother’s wishes; he only seeks to punish as it’s what his only beloved trustee believes. It’s clear that Jason’s hellish fate derived from his attachment issues with his mother. He has remained a child mentally, with his mother having a psychologically overbearing influence for his whole existence.
It seems that Friday the 13th will never come to a conclusive end, with the final film so far – Friday the 13th (Marcus Nispel, 2009) latently repeating the pattern all over again. This film is a remake of the first and disregards all the previous entries. The ending remains eerily similar to the original, with Jason lurching out one more time in a lake at the final girl. Devastatingly enough the repeating of final frames indicate that the process has started all over again.
Jason is corruptly entangled with his obsolete moral compass focused on him and his mother’s neurotic relationship together. His unfortunate trauma has never faded and no matter what ill-conceived acts he commits it’s difficult to feel hatred towards him. Somehow we are routing for Jason the majority of time, with his victims seeming rather disposable and unworthy of true survivor status. Pamela will always have a hold on Jason and will always encourage his murderous tendencies, leading to a vicious cycle where he must live forever to kill.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
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