Have you ever watched someone run upstairs, when you know that you would have run outside? Have you yelled at the screen, because there’s a killer stalking right behind those happy campers? Do you secretly want to be in your own scary movie? Then there’s good news – because we did too.
Parable Games is proud to present to you: SHIVER – the Horror Movie Role-playing Game! Now you and your friends can find out once and for all who would survive a rampaging killer at summer camp, who would make it through the zombie apocalypse, and which one of you is most likely to use the others as bait for a hissing alien monster!
SHIVER is a tabletop role-playing game, or an “RPG” – but what does that actually mean? Well, it means that it’s a game where you play as individual characters, playing out a story created by another player – known as the Director, and the other players make up the cast of characters.
These characters are the kind you’d usually find in a horror movie: a jock, a cheerleader, an Antarctic scientist, a space marine… Whatever, wherever or whenever your story takes place, SHIVER gives you simple tools to make sure your characters fit in to your world.
“This sounds a little complicated” you might be thinking, and you’d be right. It does “sound” complicated – but it actually isn’t! Parable Games loves games (surprise-surprise), but what we love more is getting new people to play games. SHIVER is designed to be a game that you can pick up and have fun with, even if you’ve never played anything more complicated than snakes and ladders.
So, how does it work? SHIVER uses an intuitive symbol dice system, where each symbol represents a different “skill” – or to put it a different way, a different way your characters might solve problems. Solving problems with your fists? Then you’re lying on your Grit skill. Maybe you face your challenges more with your brain than your brawn? Then that’s Smarts. Different characters have different skill strengths and weaknesses based on their personality, but each of them can try anything – here’s nothing like learning a new skill when your (fictional) life is on the line!
Why not gather your friends round for a scary movie night, but this time you’re all going to be in the movie! All you need to get started is the SHIVER Core Rulebook. With this simple and easy to read guide to the dark and unknown (world of RPG rules), you’ve got all you need to get started. We have a free online digital dice roller so if you wanted to roll ‘dem bones virtually, go ahead and give it a try.
With the SHIVER Core Rulebook you can run stories anywhere from a cabin in the woods to the International Space Station, and any-when from the dawn of mankind to the space faring future. Whatever your imagination can conjure up, SHIVER can help you turn it into an interactive, spooky experience.
Of course, horror is a varied and many headed beast. We know that. That’s why we’re always working on expansions for the game – new books themed around some of our favourite horror sub-genres…
Gothic horror – with Vampires, Frankenstein’s Monster, and the Wolfman fighting supernatural horrors in Victorian London? We’ve got it covered in SHIVER Gothic.
Maybe your tastes lie less in the fantastical – maybe you’re more of a “nothing’s scarier than a guy with a knife who just… SNAPS” type. If that’s your modus operandi, then you’d need to keep an eye out for SHIVER: Slasher. A decades spanning story where the killers always come back, but the survivors aren’t guaranteed as much.
If you struggle with the hardcore violence in horror, or maybe you want a more safe way to introduce your love of the genre to sceptical friends or family – then SHIVER: Blockbuster is the answer you’re looking for. Giant Sharks, Spaceship Adventures, Ghost Pirates and Skeletal Dragons? Launch your own mega-horror-franchise with bang!
We love horror, and we love horror movies. It’s why we’re proud to sponsor Dead Northern, and why we can’t wait to be there, but most of all it’s why we made SHIVER to begin with. We wanted to play our favourite horror movies, but also make our own – and besides, how many games can you play where you actually get to kill your friends and still get to keep your friends? Not many, I’ll tell you!
Want to give SHIVER a try? You can sign up to our mailing list and receive a copy of our QuickStart version of the game!
Created in 2020, ‘Unusual Horror’ has been bringing the brutality of underground horror and metal to market, giving fans of slam, death metal and extreme horror a means to express themselves. The brainchild of someone whose two obsessions of extreme metal and horror have culminated in the creation of brutal apparel and accessories for the community.
‘Unusual Horror’ focuses on 3 main areas: Horror inspired prints, slam & death metal merchandise and underground/extreme horror licensed merchandise. Through collaborating with underground bands, directors and independent artists, you are guaranteed to get a once in a lifetime piece of merchandise. From the likes of t-shirts, hoodies and other apparel donning edgy death metal script and independently designed artworks, those in the alternative community have a new way to express themselves.
Initially starting with a handful of pieces that donned edgy prints of Nuns in illicit situations and other quintessential metal-like prints, like Baphomet at a ritual, etc, the brand has grown significantly. With popular designs such as the ‘Sisters of …’, ‘Ritualistic Offering’ and ‘GoreChrist’ being repeatedly re-printed due to high demand – the want for more extreme prints is simply growing. It appears that people in the alternative circle are sick of the tame designs from the likes of Killstar and are now hunting down these sorts of designs, which ‘Unusual Horror’ are serving up to the masses. They pride themselves in collaborating with independent artists to offer the best quality and unique pieces, which give the buyers a unique item and the artist more exposure for their work. With new designs very much on the way, ‘Unusual Horror’ fans are in for a hell of a ride with their new signature collections and not to mention new additions to the ‘Sisters of…’ collection.
On top of their signature pieces, ‘Unusual Horror’ also gives a home to those fans of extreme & underground horror; creating licensed collections of some of cinema’s most controversial titles. With titles like ‘Deathgasm’, ‘Septic’, ‘Nekromantic’ & ‘American Mary’, the store’s collection only seems to grow with each release. Boasting a huge accomplishment with their latest release, their ‘A Serbian Film’ collection is classed as the only licensed merchandise collection for the film (worldwide) and has received a huge amount of interest since its pre-order release.
‘Unusual Horror’ prides itself in collaborating with these underground and extreme film makers, to allow them to have the same type of platform that the more mainstream horrors get. Regardless of backlash from people who aren’t fans of the extreme side of horror, it appears that, thanks to ‘Unusual Horror’, the world of extreme horror is simply growing, simply due to people wearing the merchandise and boasting their interests in this type of film – something that many fans have had to suppress due to lack of representation in clothing and also the fear of judgement.
It isn’t just licensed merch that they are passionate about on the front of extreme horror, their newest venture will see them distributing new underground/extreme horrors. They have recently received the distributing rights to up and coming Italian, queer extreme horror films ‘ELDORADO’ and ‘La Perdición’ by renowned director Domiziano Cristopharo, who directed films like ‘House of Flesh Mannequins’ and ‘Xpiation’. Filmed in Gran Canaria, Director Cristopharo boasts that these films are the quintessential watch for any extreme horror fan that has an interest in queer cinema. These are aiming to be released in December 2023 with a brand new range of merchandise for each film that should tantalise any extreme horror fan.
It’s clear that ‘Unusual Horror’ doesn’t just make merchandise, but have now expanded their options by creating distribution options for underground extreme horror; a feat many small brands couldn’t accomplish. Their final pillar of interest is mainly focussed on the slam/death metal/deathcore scene; this has always been a focus for the brand, with their logo invoking similarities to a lot of death metal band logos. This passion for underground music has been a catalyst for the brand, with them creating merchandise for local and home-grown death metal bands and allowing fans to show off their favourite underground metal bands, while also letting these smaller bands have the option to promote themselves. They have created merch for bands like ‘Guttural Slug’ and ‘Devourment’, while also showcasing smaller local bands by the likes of ‘Coprocephalic Mutation’ and ‘357 Homicide’.
‘Unusual Horror’ have been at the forefront of providing good quality pieces with brutal designs that have satisfied the masses of slam and death metal fans world wide, but their efforts to preserve and support the community don’t end with merchandise creation and distribution. ‘Rancid Offal Promotions’ was set up in 2022 by a member in the scene, as a means to get these underground slam, death metal and grindcore bands on stage and touring; there was a knowledge there that there was a huge fan base, who simply didn’t have the opportunity to see these bands live.
‘Unusual Horror’ began to collaborate with the original team of RxOx, in the way of merchandising and advertising and soon was adopted under the brand after the success of their first event. Thanks to RxOx and the collaboration with ‘Unusual Horror’, underground metal has a home for live performance. Starting with their first ever festival ‘Offal Fest’ in March 2023, the event showcased bands like ‘Crepitation’ and ‘Twitch of the Death Nerve’, while also bringing over ‘Guttural Slug’ to perform ‘Megalodon’ in full.
This was a huge moment for the scene, as this was ‘Guttural Slug’s’ debut live show, with them also playing one of the most influential albums in the scene. This event was not some local affair, patrons from overseas came from the likes of America and Canada just to check out the first ever ‘Offal Fest’. Since its creation RxOx has been planning and creating more events for the community to feast their eyes on. They have many upcoming events, like ‘Goremageddon’ and ‘Cannibalising the UK’, showcasing bands like ‘Torsofuck’ and the reunion of ‘Pivorapist’. RxOx are now the heart of the community and are bringing these brutal lineups to the masses, and their reign of terror will not end, as the next ‘Offal Fest’ is looming over the horizon.
In short, ‘Unusual Horror’ is a home for those who have been ostracised because of their interests in extreme horror and music. Their space and apparel are for those who stray between the lines of brutality and extremity, who don’t wish to align with societal norms. Whether you are an extreme horror or music fan looking to showcase your favourite niche band or film, or an alternative person looking for something just a bit more heavy to wear out and about, ‘Unusual Horror’ has it all for you. This is only the beginning for them, not just merchandise wise, but also in the sense of live music and film distribution.
When you buy your first piece from this incredible small brand, you will not just be holding a piece of merchandise, you will now be a part of an ever-growing community of fans who walk to their own beat. Make sure to keep an eye on both ‘Unusual Horror’ and ‘Rancid Offal Promotions’, as you are in for a treat and don’t want to miss out on what’s coming.
Clever and socially provocative, Talk to Me is the horror breakout of not only the summer but the year. It centres around grief stricken teenager Mia (Sophie Wilde) who, along with a group of high school friends, experiments with an embalmed hand that possesses the special ability to connect with the dead and allows users to grant spirits permission to enter their bodies.
This innovative picture comes from the minds of Australian filmmakers Danny and Michael Philippou known primarily for their pioneering Youtube content on their channel RackaRacka. Talk to Me premiered at Sundance Film Festival and was rightfully an instant hit with audiences and film companies alike; the movie was picked up by infamous production and distribution company A24. Not only does Talk to Me provide a haunting yet beautiful viewing experience, it dives into the importance of identity and tackles the idea of how a horror movie would play out in the modern, digital age.
The film’s directors have spoken about how Talk to Me explores the theme of connection and how Mia, shrouded in grief from the recent loss of her mother, is yearning for a connection to anyone or anything that will make her feel something (Fandango, 2023). Though what stood out to me the most was Mia’s connection to herself; her sense of identity. As aforementioned, Mia is struggling to cope with the passing of her mother and the consequential grief that has begun to consume her. As a result we realise that a part of Mia has died along with her mother, leaving a gaping hole in her sense of self that she is desperate to fill. Enter the embalmed hand which allows one’s body and soul to be consumed by a relentless cycle of spirits.
This addictive activity works on two levels to fill the void left by Mia’s mother. Firstly, the euphoric feeling of being possessed functions like a drug, providing her with temporary relief from the hopelessness and loss that currently defines her. Secondly, the act of allowing a spirit to physically force itself inside her shows Mia’s desperation to find an identity again, even if it is not her own. Talk to Me follows Mia on her distorted and somewhat futile journey to find herself again and warns that altering your reality – using drugs or possession – cannot change the circumstances under which your identity was broken in the first place.
(ScreenRant, 2023)
Elaborating on the subject of reality, Talk to Me further examines a world in which we are perceived and scrutinised through a digital eye. We are introduced to the hand via a snapchat story in which a girl is clearly suffering at the hands of whichever spirit is coursing through her. When the camera draws back we see her distress illuminated by the light of several phone cameras, eager to document her torment. Furthermore at all the parties hosted by Joss (Chris Alosio) and Hayley (Zoe Terakes) – the current owners of the hand – every possession is filmed and made public.
This highlights the significance social media has on an individual’s reputation as, a humiliating experience with the hand would obviously bring with it an embarrassing reputation, later exhibited when Daniel (Otis Dhanji) has a turn with the hand. The film encourages viewers to realise the importance society places on a social media presence and a digital reputation; this generation is so immunised to the pain and suffering of others that they will happily record and publicise it if it promises a positive online reaction for themselves. It is only when Mia requests they use the hand outside the presence of phones and social media that the focus shifts from creating thrills and a viral video to Mia’s dependency on possession in order to feel whole again.
(BlackGirlNerds, 2023)
Talk to Me not only blurs the lines between the real world and the digital one but as the story develops we see Mia’s reality and the spirit world begin to intertwine. In between Mia’s innumerable possessions she begins to encounter spirits outside the use of the hand. Specifically she starts to see her mother who makes her question what is right and wrong and encourages her to inch further away from her own sanity.
Mia is presented with a morally impossible decision in order to save her friend with the manipulative spirit of her mother looming over her shoulder, trying to force her decision. The climax of Talk to Me is beautifully twisted as it portrays a loving mother-daughter relationship ripped apart by death and warped by grief. Here the Philippou brothers stunningly capture the fragility of the human mind and how the death of a loved one can cause our tether to reality to unravel.
Talk to Me exhibits all the shock and exhilaration ever present in Danny and Michael Philippou’s work and presents a unique ability to portray dark, mature and malevolent themes in a heartfelt and delicate way. The film emphasises a modern society’s dependence on a sense of identity established through our connections to one another and governed by how we present ourselves online.
Talk to Me sheds light on the fact that we are all one emotionally wrenching experience away from losing our grip on reality and severing all ties from our own sense of self.
10- Soundless screams (Insidious: The Last Key [2018])
Insidious: The Last Key often goes unrecognised in the grand scheme of the Insidious universe despite being the franchise’s most profitable film, meaning that many of its brilliant surprises also go overlooked. One of these potent frights showcases a fear that many of us will have experienced in some of our worst night terrors – attempting to scream, but nothing comes out. The scene shows a key-clawed demon plunging its talons into its victim’s throat, trapping their breath and brutally silencing them. The harsh effects of such a moment make us squirm at the mere thought of running out of breath in a room full of air.
9- Ultraviolet (Insidious [2010])
The first entry into the Insidious franchise remains one of the best out of the bunch, mainly due to its simple scares that build up slowly, leaving us in suspense as we sit and wait for a big jolt to the senses. This brutally slow tension is brilliantly captured in the picture-taking sequence as we follow paranormal investigator Tucker around the haunted home, looking through a UV lens to identify suspicious activity. As Tucker flicks through the lens settings, we see an ordinary hallway plain as day, that is, until two wide-eyed ghosts suddenly appear in the frame, grinning ear to ear with the most menacing smile possible. It’s a classic scare. One that takes minimal moves to enact, but the slow anticipation of knowing you are in for a fright provides the scene with maximum payoff.
8- Beware of the wardrobe (Insidious: Chapter 2 [2013])
Tin canned walkie-talkies make a terrifying comeback in Insidious: Chapter 2 as we see the Lambert brothers trying to settle after the events of the first film. Upping the nostalgia factor is the inclusion of the tried and tested closet jumpscare. A sleepy Dalton soon realises that it’s not his brother at the other end of the line, but instead a sinister voice with bad intentions. As Dalton begins to sit up in anticipation, replicating the viewer’s goosebumps, a gangly monster leaps out from the closet and bolts to the door before turning to Dalton and unleashing an almighty scream as it glares a haunting stare from its jet-black eyes. It’s a scene to behold and an instance that brings us back to our innermost fears of monsters lurking in the dark crevices of our rooms.
7- Baby monitor (Insidious)
Since their mass popularisation in the mid-1980s, baby monitors have become a pinnacle prop in cinema, with films such as The Baby’s Room (2006), Nocturnal Animals (2016) and Lullaby (2022) all utilsing the radio system as a horror instigator. In Insidious, the baby monitor tactic is used continuously to elicit big scares over small instances of time, with the strange utterances heard over the transmitter multiple times. In the beginning, each baby check ends in a fake scare, one where the spookiness is almost a hoax. However, during the third case, the camera finally reveals a pale-faced, vampiric-like, suited ghost ominously staring over the child. The baby monitor scene is an exercise in deceit, ceaselessly building up until we no longer expect a reveal of any sort, until that dreaded moment where we are taken by utter surprise.
6- Crossing the street (Insidious: Chapter 3 [2015])
Insidious: Chapter 3 is brimming with some truly underrated shocks and startles, with the ‘car crash’ scene being a prime example of the film’s ability to seize the reins and make an ordinary segment transform into a nightmare. Quinn Brenner is a troubled young girl haunted by her mother’s death. Hoping to regain a sense of normalcy, she pursues her dreams of entering a performing arts school. After a mediocre audition, she is left even more disheartened; despite that, her night is about to worsen. Crossing the street, she sees an eerie figure waving at her in a hospital gown, catching her attention in the middle of the road. Suddenly a screeching car comes into the frame, smashing into Quinn as she falls lifeless on the floor. It is one of Insidious’ more grounded scares, with the terror of an unfortunate real-life affair, with the zooming car and sudden collision with Quinn’s helpless body being somehow more terrifying than a world of ghosts and ghouls.
5- Sheet ghosts (Insidious: Chapter 2)
Joining the likes of baby monitors and closet ghouls is another quintessential genre favourite, the classic sheet ghost. The blank, expressionless demeanour that the cloaked spirits withhold provides the perfect minimalistic scare where just the visual alone is enough to send shivers up your spine. In Insidious 2, we are confronted with a ghastly team of veiled feinds, sat eerily still with their clawed, decayed hands peeking out from underneath the cloth. The image alone is the definition of nightmare fuel and is utterly unforgettable.
4- Knock-knock (Insidious: Chapter 3)
The horrifying scene begins rather innocently with Quinn gleaming from hearing her ‘neighbour-meets-crush’ knocking on her bedroom wall from the otherside. Their sweet morse code leads to Quinn texting her admirer, only for him to reveal that no one is home. The sudden realisation that the knock is coming from a sinister presence makes our stomachs drop at the pertriyfing awakening.
3- The big reveal (Insidious)
Insidious begins as a rather mundane, yet alarming, haunted house meets possession story. However, during the finale, all hell is let loose as a whole movie universe is unleashed, revealing that the paranormal happenings run further into the veins of the Lambert family than anyone could have ever imagined. Within this reveal, the Insidious franchise was birthed, with the film’s layered lore opening up within the final act.
2- Tiptoe through the Tulips (Insidious)
Many of us will be familiar with the nerve-wracking ring of Tiny Tim’s falsetto voice singing his hit ‘Tiptoe Through the Tulips’, thanks to its appearance on many creepy internet videos. However, its best use has to be in the first entry into the Insidious world, with the song playing over one of the series’ scariest moments. As Renai unpacks belongings into her new, seemingly ‘unhaunted’ home, a little boy appears in the corner of the frame dancing along to the spooky chime of horror’s scariest song.
1- The Lipstick-Faced Demon (Insidious)
It would be criminal not to include the franchise’s most iconic jumpscare in this list. While Dalton’s grandmother discusses how the demon attacking Dalton may hold a greater significance than first believed, the now-infamous ‘Lipstick-Faced Demon’ appears behind Josh with a brazen ferocity, followed by the most gut-wrenchingly loud orchestral swell. The result of the stunning score combined with the incredible graphics of the demon and the sudden hecticness of the incident makes this scene the most memorable and effective in the franchise.
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The video nasties captured an era in horror that is known for its splatters, slashers and slayings, with nearly every film being truly disturbing and graphic. As time has moved on and cinema has become increasingly expressive, an endless amount of explicit films have entered the market. Many contemporary horror films would not have just made the video nasties list, they would have caused complete civil uproar.
In ode to this, here is Dead Northern’s official guide on post-2000s movies that would’ve definitly made the video nasties list.
1- The August Underground Trilogy (Fred Vogel, 2003-2007)
Whilst this is not a singular film, it would be criminal not to include all three entries from the infamous August Underground Trilogy on this list. The Fred Vogel and Allen Peters created series exudes its ghastly energy primarily due to its firsthand perspective, posing as found footage that dares to show every crevice, slash, and deadly deed using a point-of-view angle. If the personalised feel of the film is not enough to turn viewers’ stomachs, then the heaps of incredibly vicious violence are bound to do the trick.
2- Atroz (Lex Ortega, 2015)
Similar to August Underground is Atroz, a semi-mondo film that explores the dark depths of humanity and the will to create absolute destruction. The film speaks for itself; every scene is atrociously outrageous, but one particular moment truly bites the bullet and takes the film from hardcore to pure extremity. As those steel-nerved viewers will know, Atroz’s utilisation of barbed wire and a handheld camera makes for one of the most unsettling experiences ever to taint the screen.
3- Irréversible (Gaspar Noé, 2002)
Gaspar Noé is known for being a provocative auteur, with each of his films startling, riveting, and stirring the audiences in ways they never thought possible. His incredibly dark films include I Stand Alone (1998), Climax (2018) and, most importantly, Irréversible. The most notorious scene from the film must be the immensely cruel tunnel ordeal that shows one of the worst crimes possible in an unforgiving manner. However, an aspect of Irréversible that gets commonly overlooked is the revenge sequences showcasing the impressive talents of Vincent Cassell and Albert Dupontel.
4- A Serbian Film (Srdjan Spasojevic, 2010)
In the confines of mainstream cinema, A Serbian Film has become somewhat of a curse word that, when uttered, instigates a slew of harsh comments and side-eyes from offended spectators. A Serbian Film’s strikingly disturbed subject matters often overshine the remarkable cinematography and performances within the film. Each visually captivating scene is made even better by Srđan Spasojević’s portrayal of Miloš, an exotic actor pushed to the brink of insanity.
5- Inside (Alexandre Bustillo and Julien Maury, 2007)
The Christmas movie market is donned by classics such as It’s a Wonderful Life (1946), the heartwarming Love Actually (2003), or the gut-wrenchingly bloody tale of a Christmas Eve Home Invasion flick… The Alexandre Bustillo and Julien Maury directed horror belongs to the marvellous string of French cinema known as ‘New French Extremity’, with each subgenre entry being utterly barbaric and definitely worth watching. Inside takes one of the most vulnerable subjects, pregnancy, and creates a blood-soaked thrill ride that promises some mental scarring after viewing.
6- Dream Home (Ho-Cheung Pang, 2010)
Dream Home’s chaotically violent content is a cut above the rest. Every kill scene is steeped with such creative ferocity that it’s nearly impossible to forget the ruthless acts, particularly a segment involving an unorthodox use of a vacuum cleaner. Seconding the film’s impressive visuals is the equally saddening backstory that documents the severity of the housing crisis, poverty, and healthcare.
7- Antichrist (Lars von Trier, 2009)
Like Gaspar Noé, Lars von Trier is a brilliant director with a keen eye for abominable terror. Out of his countless portrayals of the gritty side of humanity, the most callous and beyond entertaining film is Antichrist. The movie is not necessarily extreme, but the final act introduces visuals that would have placed Antichrist straight on the nasties list!
8- Dard Divorce (Olaf Ittenbach, 2007)
Olaf Ittenbach’s Dard Divorce takes the phrase ‘not for the faint-hearted’ to the extreme, with Ittenbach’s no holds barred approach resulting in some of horror’s most intense imagery. Dard Divorce will leave you quivering in disgust but still craving more.
9- Visitor Q (Takashi Miike, 2001)
Visitor Q is just one example of acclaimed director Takashi Miike’s incredibly sordid work, with the likes of Audition (1999), Ichi the Killer (2001), Gozu (2003) and Lesson of the Evil (2012) all defining his signature style of depraved cinema. Visitor Q is quite the extraordinary ride into the land of taboo, with nearly every controversial subject matter appearing very detailed throughout the film, whether that’s incest, coprophilia, necrophilia, domestic violence and sodomization.
10- Thanatomorphose (Éric Falardeau, 2012)
Thanatomorphose is astonishingly morbid, repulsive, and somehow impossible not to be fascinated by. The film takes body horror to heights that have never been previously explored in such a graphic way, taking inspiration from The Fly (1986) and Cabin Fever (2002) to portray a metamorphosis journey that shocks and disgusts from beginning to end.
11- Baskin (Can Evrenol, 2015)
What begins as an investigative horror following a group of police officers on a strange call ends up in complete shambles as the film takes violent surrealism to radical extremes. Cult practises and dwindling mentalities, followed by eye gouging, disembowelments, and slit throats, all take centre stage in the criminally underrated Turkish extravaganza.
12- Snuff 102 (Mariano Peralta, 2007)
Mariano Peralta’s terribly callous exploration into ‘real’ death would have surpassed the woes of the video nasty list and resulted in utter pandemonium across the media thanks to Snuff 102’s unnerving study into rebellious filmmaking. No act of violence is left to the imagination as the viewer is subjected to copious displays of evil, horrid, and maniacal acts that many will argue should never be witnessed, simulated or not.
13- The Human Centipede 2 (The Full Sequence) (Tom Six, 2011)
There was not a corner of the internet where Tom Six’s The Human Centipede (2009) was not the hot topic of discussion, with his on-screen visions of humanised insects capturing the intrigue of millions. However, out of the Centipede trilogy, the entry that takes horror to the extreme is the highly underrated sequel. Everything from the black and white colour grading to the devilishly dark performance by Laurence R. Harvey makes The Human Centipede 2 the modern horror classic that it is.
14- Terrifier 2 (Damien Leone, 2022)
Continuing down the path of gnarly sequels is Damien Leone’s continuation of Art the Clown’s (David Howard Thornton) wicked antics, which exhibit a rich display of glorious practical effects. The film is an exercise in exploitation, with nearly every scene caked in viscera, flesh, and more blood than the video’s nasty list has ever seen.
15- The Sadness (Rob Jabbaz, 2021)
The Sadness is by no means the most extreme film on this list. Yet, it most definitely stands for everything that the video nasties advocated against – the film literally is an exploration into a zombie-like virus where the primary symptom is an uptake in sadism.
16- Scrapbook (Eric Stanze, 2000)
Scrapbook takes some of the worst subjects matters one could ever conjure and exploits them in the most viscerally extreme ways, resulting in the graphic images being burned into the viewer’s psyche. Eric Stanze’s cruel dive into assault was required to make over 15 minutes of cuts in order just to receive an 18 rating.
17- Septic (Brian Paulin, 2022)
Brian Paulin’s depraved, disturbed, and distressing Septic is the newest and one of the most immoral entries on this list. Septic takes ‘goresploitation’ to the extreme, with every crime imaginable unravelling onscreen without limitations.
18- The Act of Killing (Joshua Oppenheimer, 2012)
The only documentary on this list is the not to be missed Act of Killing, an invasive telling of real-life crimes that took place during ‘The Indonesian Mass Killings 1965-1966’. Joshua Oppenheimer takes advantage of interviewing the perpetrators of these crimes as they openly and, at times, gleefully recall their abhorrent acts in graphic detail.
19- Capture Kill Release(Nick McAnulty and Brian Allan Stewart, 2016)
Many of the list’s entries include faux snuff films and found footage frights, yet few reach the levels that Capture Kill Release does. the film is brutally realistic and heinous in its approach to the obsession with true crime.
20- Stoic (Uwe Boll, 2009)
Stoic differs on this list due to its heavy ties to the arthouse drama genre rather than gory splatters or found footage films; however, do not let its labelling fool you, Stoic is a Uwe Boll film through and through – a nihilistic, abominable descent into the evilest deeds imaginable.
21- Dumplings(Fruit Chan, 2004)
A controversial film indeed is Dumplings, which originated as a segment in the Chinese anthology film, Three…Extremes. The trials and tribulations of this Fruit Chan directed feature are best left to the imagination, but be warned, you may never look at a dumpling the same way again…
22–Martyrs (Pascal Laugier, 2008)
Despite its harsh take on the moralities and questions of life and the great beyond, Martyrs has become horror royalty, with many viewers praising its effectiveness. The film explores both the fruitfulness and pointlessness of human life and whether or not ultimate sacrifice is genuinely achievable.
23- X (Ti West, 2022)
Ti West’s triumphant return to the horror genre had an incredibly warm reception, with fans counting X as a modern horror must-see. X may be slightly tame in the grand scheme of current releases. Still, the film’s displays of the adult entertainment industry against the backdrop of murderous mayhem would have certainly had the video nasty campaigners in hysterics.
24- Philosophy of a Knife (Andrey Iskanov, 2008)
The Philosophy of a Knife takes inspiration from similar films such as Man Behind the Sun to expose the horrors of war and the absolutely inhumane crimes committed within history. Certainly not for the faint-hearted or easily squeamish is a film that will forever go down in history as a monstrous expose.
25- Where theDead Go To Die (Jimmy ScreamerClauz, 2012)
It is extremely rare to find a film that confuses and startles as much as Where the Dead Go to Die, with every scene making the worlds of Silent Hill or Tetsuo seem totally logical. This animated extreme can only be described as an acid trip into the most bizarre situation anyone could ever fathom.
26- The Strange Thing About the Johnsons (Ari Aster, 2011)
The only short film on this list is a stunningly macabre piece of work from Hereditary and Midsommar director Ari Aster. Upon first glance, this short may seem like a typical suburban thriller where seedy secrets lie beneath the quaint underbelly, but, the scandal in this case, is so gutwrenchingly unholy that it makes Hereditary’s synopsis seem like a fantasy.
27- Grotesque (Kōji Shiraishi, 2009)
Grotesque has still not legally seen the light of day in the UK, with the film being outright banned by the BBFC due to it being a sheer exercise in sadism, void of any redeeming emotion. Whilst hardcore genre fans will argue that the film offers an allegory, Grotesque really is nothing but a gnarly, twisted whale of a time from start to finish.
28- The Bunny Game (Adam Rehmeier, 2011)
The Bunny Game suffers a similar fate to Grotesuqe with the British censorship board banning its release, this time as a result of the film having the potential to cause serious harm, which, upon watching the film, can be fairly estimated, with every inch of the screen showcasing torturous assaultive exploits in full glory.
29- Long Pigs (Nathan Hynes and Chris Power, 2007)
In a similar fashion to films such as Man Bites Dog and The Last Horror Movie, Long Pigs is a mockumentary revelling in the ‘humanity’ of serial killers and the easy-going explanations of their horrendous deeds. Where Long Pigs differs from this typical style of filmmaking is within its beyond rudimental approach to subjects such as cannibalism which take place eerily naturally on screen thanks to the documentary methodology.
30- Melancholie der Engel (Marian Dora, 2009)
Marian Dora is a filmmaker whose work such as Cannibal and Melancholie der Engel, take already graphic exploits and presents them in such a way that nightmares are almost always guranteed after watching. The film does not know where to draw the line as nearly every crime known to man is displayed in an unbearably realistic fashion where simulated or not, you will be pondering whether what you’ve witnessed is legal!
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Rob Savage has proven his status as one of the most exciting horror filmmakers actively creating in the current market. His feature debut, Host (2020), made the common Zoom session a playground for ghostly antics to ensue. Following shortly was the enigmatically charged Dashcam (2021) which barrelled in intense humour amidst the backdrop of a live stream. Adding to Savage’s growing filmography is The Boogeyman, an adaption of the Stephen King short story of the same name (1973).
Even in its most complex form, King’s story is simple, far from complicated, and a fundamentally brilliant portrayal of primal fears. Its own directness is what makes it a classic. Bumps in the night, the monster under the bed, and the scared of the dark logic all haunt us at one point; with this in his peripheral, Savage takes heed from extensive explanations and backstories surrounding simplistic innate frights to tackle a narrative brimming with unpretentious scares, and delivering a horror that grapples with urban-legend-like terrains.
As with many big studio-produced films, the story replicates a wave, interweaving emotionally dense performances in between the big scares, working with a continuous play of highs and lows. And for all of the loud, gotcha frights to succeed, a solid backdrop is essential. The film is graced by the talents of Sophie Thatcher (Yellowjackets), Chris Messina (Air), Vivien Lyra Blair (Bird Box) and David Dastmalchian (Dune), all of whom carry the dramatic storyline with ease, but most notably Thatcher, who plays the role of a grieving adolescent heavy with the weight of her sister’s trauma. Thatcher exceeds expectations and propagates the sympathetic tone of the film, ensuring a connection between the screen and the viewer.
The Boogeyman thrives on its traditional expositions, with each act defining a clear climax and then disequilibrium. However, whilst the film is far from dull, there does seem to be an error in restraint. Going from independent to studio filmmaking is a giant leap in creative freedom. It is not uncommon for executives to push specific characteristics or scenes that may generate more of a buzz, increasing the chances of financial success. Whilst this aspect leans more on the positive side, there is such a thing as too much emphasis on creating a film that ‘all’ audiences will love. Savage is such a fierce director, a true force. And yet, The Boogeyman sits at 90% ferocity rather than 100%.
It’s noted that initially, the film had that oomph factor one expects with Savage’s talents, but during test screening, audiences found the original cut too scary, meaning that specific tweaks had to be made. By no fault of the cast and crew, The Boogeyman has a slight fall when it comes down to the fear factor. However, a factor that boosts the film back towards its well-deserved acclaim is its atmosphere which is perfect for cinema viewings – just as movies are made to be seen!
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1 – One film has never made it out of the nasties list
As any horror fan will tell you, the ‘nasty’ period was brutal for the genre, with every film on the list going through rigorous censorship campaigns, resulting in many films not being released fully uncut until the mid-2000s. However, despite the times moving on, one film has still never seen the light of day in the UK. The banned culprit in discussion is Gestapo’s Last Orgy (1977), an exploitation flick centred on the horrors of war.
2 – The media’s concern went further than you could believe
In an interview regarding the nasties’ ability to infect the public’s minds, MP Graham Bright, stated that “research is taking place and it will show that these films not only affect young people, but I believe they affect dogs as well”.
3 – House of Commons goes to the cinema
As part of the NVALA (National Viewers and Listeners Association) campaign to ban the rise of horror, the organisation compiled a compilation of some of the more bloody moments from the films in question. This compilation was shown to ‘prove’ how horrid these films were, eventually convicning parliament to create laws and legislations that would change the path of horror cinema for decades to come.
4 – Real or fake – the case of Cannibal Holocaust (1980)
The infamous Cannibal Holocaust was not neccesarily the ‘worst’ film on the list. However, its use of firsthand footage and its mondo influences meant that director Ruggero Deodato was actually arrested for obscenity. The graphic material was so absurdly gruesome that the authorities eventually changed his charge to murder, as there was ‘no way’ that the performers actually went through the stunts voluntarily. Eventually, the case was settled when Deodato brought out the cast and proved that they were in fact still alive.
5 – Havoc at the video store
When the authorities were at the peak of prosecuting films, they would patrol local video shops hunting for obscene films. However, due to the officers not actually viewing the films, they did not always know which movies to lift from the shops. According to official documentation, Dolly Parton’s comedy musical ‘The Best Little Whorehouse in Texas’ (1982) as well as the acclaimed Apocalypse Now (1979) was seized simply due to their names.
6 – False evidence
It was not uncommon to see newspapers and reports comment upon the nasties as being equivalent to exercises in sadism that have the potential to tarnish the minds of Britain’s youth. However, when this was actually investigated, the results pointed elsewhere. Dr Guy Cumberbath was more than hesitant over the claims, resulting in him interviewing students at primary schools about the latest nasties. Most of the kids admitted to watching these films and enjoying them, but as part of the study, Cumberbatch would ask about fake titles that didn’t actually exist, all of which the participants would claim to have consumed.
7 – The rise in popularity
The protests against the nasties were vigorous and strict, yet that did not stop the list of films gaining significant positive attention. One of the more popular nasties was Sam Raimi’s The Evil Dead (1981), with the film’s first VHS release in 1983 (prior to the Video Recordings Act [1984]) garnered £100,000 in profit from its UK sales, making it both one of the quickest selling video releases in the history of home video.
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Dead Northern picks its ‘Top Ten Video Nasties’, in celebration of our new monthly event ‘Nasty Video Club’!
10 – Tenebrae (Directed by Dario Argento, 1982)
Throughout Dario Argento’s lengthy career, he has become synonymous with the Giallo subgenre of horror cinema, known for its hyper-stylised, theatrical films that focused on the fantasticality of the narrative. Whilst the video nasties have become heavily linked to slashers, an era of cinema that many forget is heavily twinned with the nasties is Giallo. One of the must-see films within this confine is Tenebrae, a stunning yet dramatically horrific tale of deceit and betrayal. Surprisingly, Tenebrae remained on the list until 1999; however, unlike many of the list’s entries, Tenebrae still managed to gain quite a reputation despite its censorship in the UK.
What propels Tenebrae into the video nasties hall of fame is the film’s most bloody and glorious scene, featuring a sudden axe attack which shows the victim flail her bloody, axe-wounded arm across an entire sterile white-coloured kitchen, painting the walls with bright red. As with many Giallo films, Tenebrae is a pure feat for the eyes, basking in the glory of beautifully morbid visuals and creating scenes that stand the test of time.
9- Blood Feast (Directed by Herschell Gordon, 1963)
Blood Feast is the oldest film on the video nasties list and one of the most underrated entries. The Herschell Gordon directed film is a junior feat from the early days of the splatter era. It is known for its pure bloodshed and frenzied chaos that focuses on heavy gore and violence, with the film’s storyline coming second to the visuals. Blood Feast fleshes out a myriad of themes, from cannibalism and ceremonial feasts to a whodunit mystery showcasing authorities trying their darndest to work out who is the culprit causing all of the murderous madness.
Whilst many video nasties have gone on to become outstanding classics, with burgeoning reputations following in its wake, Blood Feast has yet to reach this acclaimed status. Many horror icons, including none other than Stephen King, have gone on to declare their disdain for this film, yet, there is something so moreish about this 1960s classic. Indeed, the performances are not entirely polished, nor is the dialogue anything outstanding. However, Blood Feast belongs to that homegrown, grassroots string of horror that gives credence to independent filmmaking.
8- The Driller Killer (Directed by Abel Ferrara, 1979)
The Driller Killer screams ‘video nasties’. Everything about the film is entwined with what the nasty list epitomises; it has a catchy name, countless instances of violence, and is an all-around whale of a time. The film had one of the more severe punishments during the nasty reign, with the slasher not being reinstated until 2002 and belonging to the prosecuted section of the list.
However, the gore is so overtly over the top that any form of realism is entirely stripped, yet it is within this fantasticality that The Driller Killer shines. The flagrant score overpowers the dialogue at times, and the animated acting that thrives alongside the ludicrous character decisions propels the film into typical ‘nasty’ terrain where excessiveness trumps quality.
7- The Burning (Directed by Tony Maylam, 1981)
During the early 1980s, there was a massive boom in the horror market, with slashers, splatters, and gorefests rallying in the crowds and making financial waves in the process. Studios were desperate to capitalise on the success, with The Burning’s campsite premise eventually gaining interest. Upon its release, reviews were mixed, with horror still being a critically contentious subject. Despite The Burning not capturing critics’ attention, the film drew interest from the censorship board, which made excessive cuts for the cinema release. As the nasty epidemic grew, The Burning caused further outrage despite the public being openly allowed to watch it in theatres years prior. It was not until 2002 that audiences could watch The Burning in its full glory, with all of its murderous mayhem.
6- The Funhouse (Directed by Tobe Hooper, 1981)
Tobe Hooper is known for the one and only Texas Chainsaw Massacre (1974), the quintessential piece of horror history. However, The Funhouse still remains a criminally underrated diamond from his extensive filmography. The film is a terrifying circus of what happens when a carnival turns deadly, with the fairground antics collaborating with the multiple slayings, impalements, and electrocutions. Compared to its fellow comrades on the list, The Funhouse had an easy ride, obtaining a cinema release years prior and then being released uncut in 1987.
5- Dead & Buried (Directed by Gary Sherman, 1981)
For a gruesome video nasty with an abundance of visceral gore and ghastly frights, Dead & Buried has an incredibly gripping story that keeps audiences on their toes with immense amounts of suspense and tension. The writing duo Dan O’Bannon and Ronald Shusett are at the hands of the grasping script. Amongst their credits are Return of the Living Dead (1985), Total Recall (1990), and the original story for Alien (1979). The film oozes relentless excitement, with each twist and turn complimenting the gnaly practical effects.
4- The Last House on the Left (Directed by Wes Craven, 1972)
Prior to A Nightmare on Elm Street (1984) and Scream (1996), there was the utterly savage, brutal, and unforgettable The Last House on the Left. This 1970s classic based on Ingmar Bergman’s The Virgin Spring (1960) is a film that was deemed so barbaric that the BBFC did not release the full uncut version until 2008, not to mention the several post-nasties campaigns fighting against the release appeals made against the film for decades.
In decoding the film, there are a plethora of reasons raised as to why it remains just as disturbing now as it did decades ago, namely the realism that Craven applies to depict the horror. Despite the offbeat, out-of-place soundtrack and questionable acting, the events are beyond harrowing thanks to the unflinching camera that aims to show as much terror as humanly possible.
3- The Beyond (Directed by Lucio Fulci, 1981)
Another giallo classic to round off the list is The Beyond, a certified Lucio Fulci must-see. With The Beyond being the second entry in his ‘Gates of Hell’ trilogy (also including City of The Living Dead [1980] and The House by the Cemetary [1981]), its of no surprise that the film induces a blood-curdling, white-knuckled ride into delightful frights.
The Beyond’s contemporary cult reception is a warm welcome considering its contentious release, with the film not receiving an uncut release in the UK until 2001, as well as it not being available for public viewing until 1996 in the U.S.
2- Possession (Directed by Andrzej Żuławski, 1981)
Known as one of the most unhinged horror film’s from the eighties’ due to the infamous ‘tunnel scene’ is Possession, a European, graphic horror with an art-house flare that can only be described as eccentrically bizarre. Unlike many films that have a beginning, middle, end, rounded up with a solid conclusion, Possession ends with even more questions raised. To add to the narrative connundrem is the aforementioned tunnel escapade, which is a stunning exercise into how crucial performances can be in attaining affect. The film is definitely not for the faint of heart, eyes, or mind!
1- The Evil Dead (Directed by Sam Raimi, 1981)
Considering The Evil Dead’s contemporary reception, it can be easily forgotten how controversial the film was at the time of its release. Raimi’s deadite adventures has not faltered at the hands of time whatsoever, with every inch of the film being just as entertaining now, if not more, than when it first hit the screens.
Everything, from the chilling dialogue sung and screamed by the evil creatures, the unforgettable tree sequence, the first word read from the Necronomicon, and Ash’s (Bruce Campbell) iconic catchphrases is an essential part of horror film history. If there was the ultimate entry from the video nasty list, The Evil Dead will always be crowned winner.
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CELEBRATE THE BEST OF INDIE HORROR ON THE BIG SCREEN!
Dead Northern Film Festival returns for a fourth year with a three-day horror and fantasy film festival in the heart of the UK’s spookiest city, York.
The festival will be held from Friday 29 September to Sunday 1 October 2023
The programme will feature a 50th anniversary screening of ‘The Wicker Man’, new short and feature films, live events, Q&As with filmmakers and much more!
Following last years success, which saw over 500 admissions, celebrating the best of the indie horror film genre, the Dead Northern Film Festival returns with a thrill-packed weekend.
Horror and fantasy fans are invited to the York’s City Screen Picturehouse to spend the weekend celebrating frightfully good flicks old and new.
The line-up includes a mixture of specially curated new feature and short films from the best talent in the genre, locally and internationally, as well as a celebration of some classic horrors reaching milestone anniversaries.
Folk horror will take centre stage over the weekend with 50th anniversary screening of Robin Hardy’s ‘The Wicker Man’ accompanied by a panel of special guests and a carefully selected group of folk horror shorts.
Beyond the film – Expect interviews with industry creatives
There will be something for all genre fans from creepy thrillers to blood-soaked slashers.
Joshua Lawson Co-founder and director of festival programming says of the line-up: “We’re really excited to welcome Dead Northerner’s back to our most ambitious festival yet.”
“I can honestly say this is going to be strongest line up we have had in our 4 years growing the festival, with an eclectic mix of extra fringe events and activities”.
Festival goers enjoying the City Screen in between screenings
There will also be other surprises for festival attendees including special introductions, guest speakers and, of course, the live events and awards party that has become a fan favourite.
Dead Northern Festival award winners will join past alumni such as Rob Savage (Host) who won film of the year in 2020, and Erik Bloomquist (Ten Minutes to Midnight). With the most anticipated award “Best Death” won by Liam Regan’s Troma hit in 2022 (Eating Miss Campbell) sponsored by Dead Happy.
Liam Regan accepting the award for ‘Best Death’ in 2023
Brand new to this year is the ‘Bizarre Bazaar’ a unique marketplace dungeon of brilliantly unusual vendors dedicated to fans of the horror and fantasy genre.
VIP Weekend Passes for the festival are now on sale with day passes and individual screening tickets set to be available in August when the full festival schedule is released.
One of genre cinema’s biggest classics meets its 50th anniversary this year. Within these past five decades, the already beloved hit has managed to soar further than ever and gain a reputation that many films can only dream of. The grand slam in question is none other than Robin Hardy’s The Wicker Man (1973).
The Wicker Man follows Sergeant Howie (Edward Woodward) as he lands on the grounds of Summerisle, a small Scottish island, to investigate the disappearance of a child. Howie’s puritan ways are tested after being shocked at the Islander’s worship of pagan Celtic gods and behaving in an open frivolous manner, leading Howie to suspect that something suspicious lurks around the corner.
This eerie, dark, and bewitching descent into the greatest monster of them all, humanity, is a momentous feat in the world of folk horror, the genre responsible for creating the most haunting of films. In an ode to classic folk horror, The Wicker Man battles with evil grounds, sordid land and its lust for sacrifice. The 1970s hit thrives in these quintessential folkloric themes that have been utilised and weaponised for decades, yet rather than the film weaken overtime with multiple watches; it manages only to get better, which is equally thanks to the stellar performances and the film‘s unique method of building fear.
Production began in the early ‘70’s after the film’s screenwriter Anthony Shaffer and acclaimed actor/ Hammer Horror legend Christopher Lee began discussing the potential to collaborate on a film that went against the grain of the popular trend of ‘monster movies’. Soon joining Lee and Shaffer was the eventual director Robin Hardy, who was more than on board with creating a horror film surrounding cult and mythology. Looking for inspiration, Shaffer brought David Pinner’s 1967 novel Ritual to the table, which chronicled a religious police officer who travels to a small village looking to solve a sacrificial murder. After negotiations, Pinner sold the rights and production ensued.
For any ‘Ritual’ fans, it may be noted that The Wicker Man is not a direct adaption of the book, but more of a starting point, with the film, eventually forming into a tale about the woes and intrigue of paganism. The Wicker Man poses that the screen did not need to be filled with blood, guts, and gore to obtain a genuinely horrifying response from its audience. Instead, the terror alludes to the animalistic and horrific nature of the Summerisle residents. The film raises its atmosphere solely through methods of intent and interpretation, letting the viewer’s imagination conjure it. Despite how unnerving The Wicker Man’s conclusion may be, the lasting atmosphere is not one of disgust but deep-seated fear and trepidation that the most peaceful environments hold the darkest secrets.
With Lee already on board, they needed to cast the role of Sergeant Howie, the hard-mannered officer. When actors Michael York and David Hemmings declined the role, the reputable television actor Edward Woodward was welcomed onboard. With a solid story and an even sturdier cast under its belt, The Wicker Man began filming mainly along the Scottish coast before wrapping up and editing, which is a whole story within its own right…
From a contemporary perspective, many can confirm that The Wicker Man is a ‘perfect’ movie with no noticeable flaws. However, the post-production indeed travelled across rocky terrain. The studio, British Lion Films, had bought the film, and after seeing the ‘burning man’ conclusion, they demanded heavy cuts to the ending as Howie’s death was too horrid to put on screen. They suggested that the scene should continue, but instead, halfway through, a sudden downpour should occur in which the rainstorm puts out the fire. Luckily enough, the crew outright refused to make this edit and instead negotiated to cut out roughly twenty minutes of build-up scenes.
Adding to the turbulent release journey was the film’s lost footage. After the film had been released, Hardy was determined to restore his vision to its original edit, seeking the complete, original footage to restore it fully. However, he was informed that the negatives were lost, that is, until director Roger Corman (and one of the previous potential distributors) still had a copy, saving the day and leading to a ninety-six-minute version being released in 1979. As time has gone on, multiple versions have been released – an extended cut released by Canal+ in 2001, a limited edition signed version from Anchor Bay in 2005, and most recently, The Final Cut from StudioCanal, which Hardy described as one of the most accurate representations of what he wished The Wicker Man was when it was first released. Unfortunately, the exact carbon copy and precise original cut still have not been found, but that does not hinder what we already have.
With all of the commotion and re-edits, where does The Wicker Man stand 50 years later?
The Wicker Man boomed onto the scene with reviews from prestigious outlets, including Variety, The New York Times, and Los Angeles Times, all praising the film’s slow-burning dread and evocative atmosphere. Decades later, distinguished sources such as Empire and The Guardian ranked the film as one of the best horror movies ever, and for a good reason. The film is not only a genre-defining piece of cinema, a folk horror classic, and a definitive part of British film and media; it is also an intense, burdensome, and wholly unhinged example of how aura and a menacingly slow buildup can leave a lingering mark of fear that does not rely on jumpscares, but our own worst enemy – the imagination.
There are multiple ways to read The Wicker Man, which are all equally frightening. There’s the aspect of nurturing nature, feeding the land souls to prevent disruption. Then there is the religious perspective, where one could comment on how the film elicits fear based on the infatuation of high powers and cults, leading to the abandonment of moralities to serve a spectral being. And then there is the more sinister realisation – forget about individualising fear within the sins of the land, forgo the collective power of cult thinking. What truly makes The Wicker Man claw at the viewer’s skin and then nestle its horror within their being is how mundane the film portrays monstrosity to be. Recalling back to early production stages, Lee, Shaffer, and Hardy wanted the uncanny to thrive amidst a background of sincerity where there were no ghosts, zombies, or knife-wielding maniacs. The horror needed to come from within the Summerisle residents’ souls, not via a weapon or some dressed-up ghoul. The film’s manifesto speaks to the horror within the everyday, an apparent typical atmosphere that holds unearthly secrets. The Wicker Man makes you uncomfortable and on edge from the very first moment. However, it is not until the very last scene that our suspicions are confirmed, and an epiphany reveals itself.
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