Steeped in righteous social commentary and deeply rooted ordeals is The Lies of Our Confines. Enlisting the alarming fundamentals of horror, along with the genre’s innate platform for distinctive allegories to thrive is Leon Oldstrong’s latest film, merging epic supernatural components, with eye-catching cinematography and a witty narrative that will always leave the viewer guessing what’s going to happen next.
Oldstrong’s filmmaking methods, whether that be the exterior of sound, vision, and setting, or whether that be the interior basking in the film’s moral alignments and narrative compass, he belongs in the canon of the most exciting, indie filmmakers out there. The Lies of Our Confines is a refreshing take on creating authentic stories, made by black people that go against the grain, and oppose the need for creating cyclical urban narratives with contentious negative stereotypes. Films such as The Ritual (2017) and Midsommar (2019) are of course outstanding feats in their own rights, but a key development missing from the ever rising popularity of nature based horror is representation.
Continuously filling the screen with monotonous assemblies only weakens the potential for undiscovered talent to arise. The Lies of Our Confines breathes new life into neo-folk horror through re-envisioning filmic barriers and creating a form of escapism for an audience who are denied an identity within heavy genre cinema.
Oldstrong himself states that “I’ve had enough of watching content told by the same voices and always seeing the same type of people on screen”.
Additionally within the discourse of refreshing cinema is the film’s enigmatic scenery, enthusiastic visuals and polished cinematic value that goes above and beyond and proves that indie horror can be just as enriched and masterful as any widely funded blockbuster. The film understands the power within the woodland-based ambience to both highlight the intrepid advances that the natural earth holds; enhanced by the magnifying performances from the likes of Tobi King Bakare, Chadrack Mbuini, Braulio Chimbembe, Abdul Jaloh, and Enrique Borico. Even in accompaniment of contemporary discourses, the sheer stillness yet eeriness that rural auras hold is truly one of the many components that make The Lies of Our Confines so memorable and a must watch through to the core.
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After a gunman holds a support group under siege, they must all confront their mysterious pasts to fight for survival.
Coming from the cinematically versed Will Higo is The Group, a claustrophobic, intense, and poignantly personal, cautionary tale encompassing the process of forgiveness, transformation, and most importantly deadly consequences. Higo, whose extensive credits include behind the scene work for The Crown (2016) and Spider-Man Homecoming (2017), as well as directing short films such as Nemesis (2010) and NSFL (2014), crafted The Group from the ground up, dedicated to showcasing a fast-paced, testing, and morally ambiguous feat.
What innately comes from indie filmmaking is a unique sense of creativity that utilises any natural constraints and molds them into key plot details that in the right hands can result in effective conclusions that push the film into unrepeatable and influential territories. The setting of The Group being an Addicts Anonymous meeting allows for an intimate narrative to unfold, and ultimately plunges a close-knit, character-defined story into the forefront. As the dynamic becomes more heated with the involvement of the gunman, they are urged to unravel their chaotic past, which is a task for anyone, but when those histories are rife with trauma and pain, a newfound need to escape both figuratively and emotionally comes into motion.
Blasting the vibrant roots of the story even further are the performances. The isolated boundaries that come from a one-room setting force the focus to immediately fall upon the characters and their actions. The pressurized situation acts like a boiling pot where the group waits on the edge of their seat for the torment as they decode and come to terms with their wrongdoings and misfortunes.
While all are important, the titular character of Kara (Evangelina Burton) takes the viewer’s hand in guiding them through one of the most chilling, and pulse-pounding 71 minutes of their lives. Burton’s portrayal of a person on the edge and at the point of defeat projects exactly what The Group is about. Burton positions the anger within as if the torturous meeting is just the tip of the iceberg for her. Alongside Burton is Dylan Baldwin who plays the ubiquitously sinister weapon-wielder, Jack. Baldwin encapsulates a dangerously threatening level of menace that really amps up the fear factor throughout, not at one point does his actions (that take control of the narrative direction) become predictable, making the experience even more action-packed.
The Group requires a tricky mix of personalities from different backgrounds whose varied experiences shaped their identity and why they are placed within the AA setting in the first place. As it stands, their anonymity to one another allows a shield to be cast around their individualised barriers, but when the situation turns ugly and Jack ups the stakes, the group’s commonplace differences come secondary to survival. Their dynamic changes from one of detachment to unity, in return pushing comfort away and instead spearheading vulnerability.
As with any horror that steps outside the box and infuses a delicate topic into the narrative, a keen urge to accommodate the fragile nature of the subject is made. Higo’s introduction of addiction into The Group does not aim to shy away from the harsh truths that are joined with such an illness. The chance to move on, apologise, and seek redemption is one that applies to everyone directly involved in that person’s path; the journey is rarely singular. The Group overtly holds it grip on the viewer through initiating a heightened level of violence and threat, whilst also under the surface permeating a dark level of trauma and personalised grief.
The Group dares to challenge. And more inadvertently, the film openly asks the audience what they would do in this situation on both ends of the firing line. Is Jack simply a man at the end of his tether, or are his actions redeemable? These are just some of the questions that Higo brazenly brings to the table, fleshing out the complexity of betrayal whilst still delivering impactful scares and memorable frights.
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After a tragic incident in her childhood, Anna (Riann Steele) has become distant from her estranged family for years. Due to her grandmother, Lucy (Jane Lowe) suffering from Dementia, Anna travels back home to become her caregiver. However, soon after she arrives strange ordeals begin to happen with increasingly drastic effects, leading to Anna discovering the connection between the sinister occurrences and a disturbing family secret.
The classic ghost story has made a home within horror for decades, seemingly the entire premise of ghoulish apparitions and dark entities have become entirely synonymous with definitive status within genre cinema. Yet, despite the traditional arrangement being so notorious, it is difficult to come across a modern horror film that is a streamlined quintessential ghost tale without unwarranted cheap scares and easy gimmicks. Jamie Hooper’s The Creeping is exactly what audiences have been begging for and precisely the type of cinema that horror has been longing for all these years. It’s that sense of habitats becoming infected with sinister otherness whose threat knows no bounds.
Director Jamie Hooper’s natural talents have graced many award winning short films over the years including Unto Death (2017) and Don’t Peak (2020). Joining Hooper in co-writing this gothic inspired story is Helen Miles, known for sound mixing on films such as The Gentlemen (2019) and His House (2020).
The familiarity seen within The Creeping is immediately a warming surprise, with sheet ghosts and dark hallways purposefully talking the audiences hand and promising a by-the-book haunted house legend where we know exactly what to expect, falsely creating a comfortable environment only for Hooper to brutally pull the rug out from under and deliver intensely frightening jumps and riveting jolts. In a formidable sense, The Creeping knows exactly when to take its sweet time building up ammunition and when to exactly pull the trigger. This push and pull layering method refuses to mimic similar filmmaking techniques seen by the likes of Mike Flanagan’s work in The Haunting of Hill House (2018), or travelling further back in time with Robert Wise’s The Haunting (1963); instead Hooper reinvents principles in a valiant and effective way that ensures The Creeping’s status within independent cinema will not be forgotten any time soon.
The cottage, English countryside setting belongs to an innately intimidating aesthetic where ominous bodies can lurk around every dark corner. Establishing the malevolent force strung over every scene is the deeply seeded character development that takes a keen precedence throughout, and for a very vital reason. A horror film can easily conjure a quick reaction with a scary visual combined with a loud sound, but it takes a lot more grafting for that trembling fear to come from a deeper place that plants its roots early on, meaning that by the final act the audience literally cannot catch their breath. The Creeping elaborates a theme of generational trauma that comes to light within Anna and Lucy’s touching relationship. Lucy’s withering condition pulls at Anna’s heartstrings, but it also unearths a frightening realisation that her place within the family is dwindling as Lucy’s memory diminishes. The performances by both Riann Steele and Jane Lower are not only crucial to the film’s effect, but they are also utterly commendable and richly authentic.
The Creeping is a methodical, wickedly dark, and effective horror that will indefinitely take indie horror to new heights.
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OJ (Daniel Kayuuya) and Emerald Haywood (Keke Palmer) have been making ends meet at their Californian horse ranch ever since their father died in a freak accident. With savings becoming dire and OJ selling the horses to neighbour/former childhood star Jupe (Steven Yeun) to get by, they discover a jackpot hovering over them. With the help of tech installer Angel (Brandon Perea), they venture out on a mission to capture evidence of a UFO.
The contingency of exploitation is an enigma that defeats logical explanations. Humans as a species crave that feed that comes from tragedy, a lustful but apprehensive desire to absorb terror like an uncontrollable need to blemish a chance of achieving a completely placid mental state. Shamelessly forming from the attraction of the spectacle is a myriad of threats, keeping the mind on alert, knowing that danger is just around the corner; Obsession is a blessing and a curse. Jordan Peele’s follow up from the acclaimed Get Out (2017) and equally applauded Us (2019) is Nope (2022), quite possibly the most jaw dropping sci-fi, horror, drama, mystery to enter the mainstream market in the last twenty years.
Just as the world was seemingly crumbling in 2020, many cinema aficionado’s were concerned over the future of film, with Peele belonging to the worried mob. It was at that moment that he knew his next film had to be a total pageant that deliberately dishes out way too much for the audience to handle, spiritually force feeding the masses as much onscreen swindling, distress, and catastrophe as they want.
In all of the tormenting comments made about the trajectory of human behaviour within Nope is the deeply enigmatic setting, performances, cinematography, and stupefying score. The dusty and desolate landscape filmed in IMAX comes straight out of an old fashion western, with monotonous beige dirt tracks absorbing any nearby signs of occupied space, as if the ranch is just a small pinprick in a grand vastness of nothing. OJ, Em, and Angel are made to feel insignificant, especially in comparison to what lies above them. This ignorance to their being doesn’t just open up the screen to stunning exhibition shots captured by cinematographer Hoyte Van Hoytema, but it also embodies the physicality of the situation. The beastly UFO isn’t necessarily a spaceship hoarding wide eyed, green skinned aliens, the saucer is the extraterrestrial product itself that chews people up and spits them out whilst also psychically resembling a biblically accurate angel. The sheer lack of respect Nope dishes towards its characters is just one step in the chaotic ladder Peele climbs in order to tyrannise the hierarchy. Not a single character feels untouchable, they all have an equal share of not making it through to the end, instead, the most innocent of all creatures and somewhat deserving of peace is the UFO.
Through distancing the ranch from common land, and detaching OJ, Em and Angel from others, the ‘being’ further obtains this status as otherness, and more importantly deadliness. Unlike in alternative alien features there are no throngs of weapons held by jacked-up Navy Seals ready to let rip an armour of projectiles. Instead, it treats the ranch like its playground, free to roam like one of Haywood’s horses.
Consequently deriving from the autonomy held by the UFO is the lack thereof shown within the lands occupants. A large factor of Nope’s narrative surrounds an incident that occurred on Jupe’s sitcom in the late 1990s surrounding its main character- a chimpanzee named Gordy. The events leading up to and following on from Gordy’s rampage is horrific to say the least, but what stands out most besides the visual escapades is the reality of the situation. Gordy was a wild animal that was treated like a ‘worker’ made to perform to appease a live audience, and like a ticking time bomb waiting to go off, it was only natural that a sudden change in scenario would cause Gordy to essentially ‘loose it’. Peele purposefully doesn’t show the massacre in graphic detail, in fact he doesn’t show the event (as it happened) in full length without interruptions at all. Somewhat, teasing the viewer knowing that they want to see Gordy go bananas ripping off faces and tearing into whatever flesh he finds. Peele’s dangling of the carrot firmly confirms his suspicions about the viewer, we may want to voyeuristically survey the primate gone mad, but we shouldn’t. Nope both tests the theory of spectacle and the greed for a show, whilst also denoting a sense of dignity back to the spectacle itself.
The same argument could be said towards Jupe, the childhood star who instead of discussing Gordy’s tragedy in a humane way, replays the tale through an SNL sketch that was held in its memoir. Jupe’s glassy reflection discussing the hilarity of the event, combined with the fact that he sits in his theme park profiting off of his childhood stardom is a deeply sad feat. Nope is a horror that shocks and scares, but more importantly it’s an emotional analogy of how fragility and empathy is only to be experienced temporarily, with grief to be fought off in an attempt to get back on the wagon as soon as possible.
Further clawing its way down to the bone is Nope’s unbeatable horrific elements that enforce an inescapable air of claustrophobia, enhanced by unspeakable imagery revolving trapped, bloody spaces and viscera soaked exteriors encased with a suffocating soundscape brimming with echoed screams and Martian-like humming. The internal UFO scene in question is a given for any viewer familiar with Nope, and for those that want a juicy infill before watching the future sci-fi staple, it can be guaranteed that the visual is nearly impossible to forget. Even harder to forget is that horrible sickly sensation that washes over you as you watch unsuspecting people meet the worst demise possible.
Joining the intense brigade of travesty is Peele’s signature mark of satire comedy that is veiled enough to not overpower the film, but still enough to share a chuckle, particularly the darkness of his humour. For instance, when OJ is asked by an actress what his name is, she cannot help but turn a judgemental eye towards his initials; of course, making an ill-informed nod to OJ Simpson, who in its entirety belongs to one of the media’s biggest spectacles in history. Exercising the brutal script to its maximum potential is the talents of Daniel Kaluuya and Keke Palmer, the film’s titular characters. As with many realistic family siblings, they are near complete opposites- a total extrovert vs introvert situation. OJ connects with the ranch’s horses with a sense of expertise because the peace within wrangling holds a devoutly vital equilibrium within his aura. In contrast is Em, who takes no prisoners in every situation she is placed in, lighting up the room and naturally drawing the limelight to her. The texture of having polar opposites join forces is a neat melody that Peele initiates. In a film about division from one another and the monetisation of adversity, perhaps Peele is making a statement showing that dissection and detachment is not the key to survival, but instead unity is.
Ultimately lying at the bottomless gut of Nope is the disgruntled commentary directly spitting back what society has become infatuated with. And in a cruel way, Peele stealthy knows that critics, vloggers, casual movie-goers, and diehard horror fans will all be commenting upon the spectacle and the need for dissection. The irony of digesting Nope’s message as fact, only to then perform exactly what Peele is commenting upon (via blasting the film all over social media) is such a stern example of the decisive layering that goes into his filmmaking.
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Beth Conner (Lyndsey Craine), a vegan-goth student falls in love with her English teacher Miss Campbell (Lala Barlow), and soon develops a forbidden taste for human flesh.
Backed by Troma Entertainment’s Lloyd Kaufman and Michael Herz is Eating Miss Campbell (2022), starring Lyndsey Craine, Lala Barlow, Vito Trigo, James Hamar-Morton, Charlie Bond, Emily Haigh, Annabella Rich, Dani Thompson, and Laurence R. Harvey, with a cameo from Kaufman himself.
The film takes the likes of high school hierarchy flicks such as Heathers (1988) and Tragedy Girls (2017), adds a dose of epic lunacy made notorious by Troma classics, coupled with a whopping punch of cannibalism, adolescent suicide, mass violence, and an infectious sense of daring humour.
The Yorkshire born and bred Liam Regan grabbed the horror world by the horns with his full-length feature debut My Bloody Banjo (2015), chronicling a bullied desk worker on his revenge seeking mission. The film was met with beloved reactions by those brave enough to sit through the bloody spectacle which saw acts of brutality be taken to another level, even garnering enough attention to be shown at the Cannes Film Festival in 2015, as well as having its world premiere at the one and only FrightFest. However, although horror fans take this as a stern compliment, the film was at first rejected by iTunes and Walmart due to its ferocity. This badge of honour only pushed Regan to continue his filmmaking pursuit with the upcoming classic that is Eating Miss Campbell, which has no qualms in pushing the viewer through an intense roller coaster where the maximalist approach is at full blast the entire time.
The kinetically charged feast goes through its leaps and bounds against the backdrop of Beth’s turbulent journey of a more-than-forbidden romance story, all the whilst juggling her rambunctiously vicious parents, the coven-like mean girls at school, and a multitude of perverted ‘associates’. It’s this audacious cacophony of themes and events that truly places Eating Miss Campbell as a mighty force, with no controversial matter too dark to explore. Censorship may seem like a bygone past time, but the current consensus is far from being fully expressive, at times it seems that filmmaking freedom is near impossible. Troma films have always aimed to displease, shock even, and without being a carbon copy or testing for the sake of it, Regan puts up a valiant fight to keep the film down there with the most gnarliest, loathsome, and most importantly compelling horrors that tackles and triggers as much as it can.
As established, the zealous gumption really is a sight for sore eyes, but just as stellar as the fruitful narrative are the performances, setting, and effects that all render together to create a mini universe so out of bounds and unique to the film. Lyndsey Craine sealed her status as an upcoming scream queen through her powerful performances in Book of Monsters (2018) and Zomblogalypse (2021), and with Eating Miss Campbell, it seems that her horror heroine capabilities are only on the rise. The character of Beth Conner is so enriched in meticulous sarcasm and a sense of clever wickedness, especially when it comes to her sharp tongue lashing out the most hilarious insults you’ll ever hear. Craine’s ability to nail the razor edged persona is a standout feat, and joining her on the performance path is every single other character, whether that be the fiery role of Miss Campbell herself (Lala Barlow), or the beyond creepy (and deadly inappropriate) teacher Clyde Toulon, played by Laurence R. Harvey, who many fans will recognise as the barbaric antagonist in The Human Centipede 2 (2011).
Eating Miss Campbell is a stroke of much-needed absurd darkness amidst all the socially conscious films entering the market. Still, Regan’s enigmatic efforts in creating a boisterous display are not without its depth. In fact, underneath the veil of obscurity is a witty subtext that uses a brave and bashful temperament to comment upon the dramaticness seen within educational settings, which ranges from the brave but truthful idolism of school shootings, the influx in assault, and the arising generational divide pitting misaligned toxicity against one another. The sheer audacity of topics is a mouthful, but for hungry audiences with an appetite for contentious dispositions, Eating Miss Campbell is a dream!
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An individual’s predisposition to fear is mainly connected to sound. The sudden appearance of a horror film’s threat, whether it’s a demonic creature or a knife-wielding boogeyman, their presence is always going to stir a reaction. However, it’s the audio cues that first unleash the terror and sheer panic amongst the viewer. Before Freddy Kruger makes an appearance in his victim’s dreams the faint scratching sounds of his bladed fingers arise to our attention, followed by the recurring twisted nursery rhyme of “One, Two, Freddy’s Coming For You”; the basis of reaction can all be traced back to the power of music within the film.
The 1990s were a time when horror films thrived in maximalism, ensuring that no theatrical stone was left unturned. The costumes were always exaggerative of the storyline, the background and setting were beyond dramatic, and the music was crucial in setting the tone, with an emphasis on curating a soundtrack that would be as impactful as the dynamic seen on screen.
The character of Dracula has gone through leaps and bounds of representations. The Count has been parodied and trivialized (e.g. The Monster Squad [1987] and Waxwork [1988]), and he’s also been made darker and almost feral (e.g. Dracula [1931]). Out of the countless adaptions, one film that is timelessly recalled is Francis Ford Coppola’s Bram Stoker’s Dracula (1992). Coppola eroticises and sensualises the entire plot by granting a god-like capacity to Dracula where his power transcends beyond blood-sucking, instead his grandness is all-encompassing to the film’s entire environment as if Dracula surpasses the barrier of the screen and has a hold on the viewer. The deliberate hazing is accented by composer Wojciech Kilar’s enigmatic score that fuses large orchestral structures to be both melodically gentle but still ostentatious and lord-like as if the music was formulated by an immortal being, Dracula himself, a character both charming and deadly.
The boastful score takes over the screen and demands nothing but full attention. In what can be considered a bold move by creating a dominating score, a sense of might is pushed towards the horror movie soundtrack, allowing for future films to spiritually feed from Coppola’s and Kilar’s forcefulness in fashioning powerful music for further films to come.
Horror as a subject can be pliable, what works for some might not work for others, however, one factor that runs throughout is the means to jolt a fright, whether that be a playful fright or a deeply souring fear is totally individualised. As the early 1990s were shaping there was an influx in ‘family horror’, films where mature audiences would feel nostalgia for their discovery days of the genre, and younger viewers would be excited to be introduced to the world of horror. Films such as Hocus Pocus (1993) and The Nightmare Before Christmas (1993) saw phenomenal amounts of success across the board that still lasts to this day. Both of these films’ signature relies heavily upon the music featured. Hocus Pocus saw Bette Midler performing the Halloween classic “I Put a Spell on You” (Jalacy “Screamin’ Jay” Hawkins), which remains a spooky season staple for many. Alongside Hocus Pocus was Danny Elfman’s composition for The Nightmare Before Christmas which was awarded a Golden Globe for Best Original Score (1993) and also featured on the US Billboard charts at No. 64.
Skipping back a few years, no matter the genre cinema was thriving on big powerful movie ballads seen in the likes of Dirty Dancing (1986), Mannequin (1987), and The Bodyguard (1992). Amidst all these love songs came a rising popularity for creating movies that revolved around its sound. That isn’t to say that other cinematic elements were being surpassed, it just meant that a strong focus was also placed upon the soundtrack.
Quentin Tarintino is the perfect example of a filmmaker who uses music as a character. And when it came to his and director Robert Rodriguez’s From Dusk Till Dawn (1996), the music played one of the largest roles in the film. The irreverently charged horror is known for its chaotic characters, purposefully sleazy setting, plasmic-coloured green blood and gore, and a killer soundtrack. The dark southern score is laden with rock and blues anthems that keep the film from seeming like a peep show. The range of musical numbers features bands including ZZ Top, Tito & Tarantula, and The Mavericks. But the most quintessential tune that is synonymous with the film is “After Dark” (Tito & Tarantula), also known as the song that plays during Santanico Pandemonium’s (Salma Hayek) dance scene with an Albino Python. After Dark encapsulates the film’s entire ambiance, where the moody tones are spiked with velvety vocals and deadly lyrics that tell the story of forbidden wants and bumps in the night.
From Dusk Till Dawn is so engrained with the idea of music that even the scenes themselves are heavily based on the importance of music as a filmmaking tool. Particularly during the scene where the on-stage band (also played by Tito & Tarantula) start using a human torso as a guitar during a mass brawl at the infamous bar ‘The Titty Twister’.
Mary Harron’s American Psycho (2000) helped redefine and recontextualize the use of music in horror in the early 2000s. The film follows Patrick Bateman (Christian Bale), a murderous city swindler who has an odd penchant for music, especially whilst he is committing his deadly deeds. Artists including David Bowie, The Cure, Phil Collins, and New Order amongst many others appear on the bold and ambitious soundtrack that to this day is still used as a cultural reference. The film toys with the omnipotent power of Bateman who somehow carries out wildly violent acts in an open manner without much of a guise, with the film’s most fluorescent and upbeat songs (including Huey Lewis and the News’s “Hip To Be Square”) playing over his psychopathic killing/monologue scenes. To nicely meld the theme of desensitisation into the plot, the pop and New Wave music is strategically and continuously peppered throughout the film, making the surrealness of his dark actions being committed in a well-lit and mainly open environment seem even more dreamlike.
A couple of years down the line from American Psycho was 28 Days Later (2002), a rattling zombie movie that dials up the bloodcurdling terror to a ten from the very first scene. Director Danny Boyle leaves no room for air as the lightning-fast flesh-eaters are constantly on the hunt, and always capture their prey with ease. To go with such a heart-pounding, exhilarating narrative is the post-rock soundtrack that also combines orchestral swells to fill in the gaps. 28 Days Later’s setting ranges from a desolate London town to empty motorways and army barracks abandoned thanks to the ‘rage virus’ sweeping the country. The silence and stillness of the apocalyptic landscape are filled by the loud and ferocious songs composed by John Murphy consisting of electric guitars and bleak, depressive droning sounds, particularly “In the House, In a Heartbeat” which begins with deadly slow riffs before erupting into a stirring melody.
Although the following trend has been around for a while, it wasn’t until Insidious (2010) that the creepy remix of child-like songs became a popular sensation for horror marketing. Tiny Tim’s cover of the 1929 song “Tiptoe Through the Tulips” features in James Wan’s Insidious as the titular theme, playing during one of the most alarming scenes from the film, showing a mysterious ghost boy dancing to the ominous song before vanishing in thin air. The distorted wave of vocals in an oddly high pitched yet masculine timbre is genuinely haunting, like something that you would hear playing in your worst nightmare. Since social media has become a playground for dance and audio trends to thrive, “Tiptoe Through the Tulips” has seen a ressuragnce in popularity, particularly featuring on abandoned tour videos and paranormal excursion clips. The intense and petrifying song is rather ironically frigthening as it was originally intended to be a family friendly hit with no shadow of darkness intended. However, it just goes to show you that horror cinema really does have a power in deceiving the atmosphere with music alone.
Disasterpiece may not be a name familiar to the masses, but their scoring for David Robert Mitchell’s It Follows (2014) is a tranxfixing feat pushing the boundaries between screen and viewer. The film takes on a figuratively and literal attachment story where a curse is placed upon victims after acts of intimacy, akin to a ghostly STD. Naturally, the horror of the narrative remains closely fixated to the protagonists, keeping the terror close to home at all times, almost suffocating the audience. To meet the deep personable elements, the scoring too brings a sense of erratic tension to the forefront, where the ticking sounds reminiscent of clock chimes, combined with industrialised synth melodies mimic the overtly present themes of entrapment, doom, and unavoidable mortality.
It Follows avoids the traditionalised use of common soundscapes in favour of upsetting any sense of familiarity the viewer may have had. In a similar line to this is Jóhann Jóhannsson’s melodramatic score for Mandy (2018), which delivers a feast for the ears with every fibre of its being. The presentation seen in Mandy is on its own enough to be fully controlling and visually arresting; when the elements of music are incorporated, any means of affect are amplified to the extreme, with the tinny, industrial tones working alongside psychedelic chargings to create a phantasmagorical palette for the senses.
Powerful contemporparty soundtracks do have one goal in common, which is to stay true to classic genre scoring elements whilst employing a new flavour that is foreign to the listener’s personal soundscape. In a way, this consideration has always been the case. Take for example Fabio Frizzi’s work, the Italian composer and frequent collaborator of Lucio Fulci would consistently marry two polar opposite musical genres (band and orchestra) to birth a theme song so enriched in chaos and commotion that its impossible to break away from the horror unfolding on screen. Frizzi’s scoring for City of the Living Dead (1980) and The Beyond (1981) truly immerses cinema as an audiovisual medium, all in an ode to break away from traditionality and opting for refreshingly original scoring.
Within recent years the use of music within horror has reached a new means where the contextualisation of sound itself is a key plotpoint. This element has always been popular, with films such as The Rocky Horror Picture Show (1975) thriving in the notion of music. Essentially the subject of sound has always been an integral part of horror.
Additions from modern autuers including Gaspar Noé and Edgar Wright have always relied on the impactfullness of scores to survey the depths of terror, with Noé’s dance studio based extravangaza Climax (2018) using hypnotic numbers playing over extensively long movement shots, and Wright’s nostalgic score for Last Night in Soho (2021) enlisting the help of 1950s-1960s hits to convey a twisted narrative rife with equal amounts of terror and sentimentality.
This idea of reusing hit songs in a new light has been repeated throughout cinema for decades, but when it’s done correctly the effect can be significantly influential over a film’s finished result. One horror that utilises this aspect with flawless execution is Jordan Peele’s Us (2019). Us’s composer Michael Abels remixes the 1995 song “I Got 5 on It” (Luniz), quickly becoming the film’s official theme song. Abels flawlessly highlights the hard-hitting beat and rhythmic structure at the film’s most tense moments, including the heavy home invasion scenes, almost using the beat as a siren or pounding drum that emotively and psychically jolts even the most stern-faced of viewers.
The power of music in horror can be asphyxiating, it can be deliberately troublesome, and it can completely make or break a film. For decades music has been a contraption to manipulate and assemble whatever emotion the film demands.
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Audiences have become rather accustomed to quick-buck, bright and bloody horrors that come about every couple of months from large studios, where nearly every moment of tension is ruined by a falsely acquainted jumpscare, and a lack of believable performances. Honestly, this is exactly how I believed The Black Phone would turn out. Never have I ever been more wrong!
The Black Phone follows Finney (Mason Thames), a middle schooler who along with his sister Gwen (Madeleine McGraw) have become a form of careers to their widowed alcoholic father, Terrence (Jeremy Davies), making sure that he doesn’t cause too much harm once he begins bingeing. Together they fight through the hardships, especially as Terrence has a penchant for berating Gwen over her psychic dreams. Amidst their other daily struggles of school bullies and playground antics Finney is captured by The Grabber (Ethan Hawke), a local masked kidnapper. All alone with no help in sight, it seems that Finney is destined for death, however, a mysterious black phone and Gwen’s visions may hold the key to his survival.
Adapted from Joe Hill’s (son of genre proficianado Stephen King) short story of the same (2004) is Scott Derrickson’s latest feature that calls back to one of his previous horror’s Sinister (2012), in being a shockingly gut wrenching delight that will have you peeking through the gaps of your fingers as you sit on the edge of your seat. The boxes are ticked in all categories, whether it’s the creepy performance from Hawke playing the bloodthirsty local kid-snatcher, or the illustrious whodunit mystery that goes on in the background as the cops race against time to get to the bottom of the killings before it’s too late.
As with most classic auteurs in the making, Derrickson uses his common collaborators Hawke and writer C. Robert Cargill to plunge The Black Phone into a refreshing territory that holds up for the entire film. The film transports us back in time to Colorado circa 1978, where kids would play out on the streets unequipped with no phones in sight, feeling safe amidst the presence of strangers, however, it is this exact uniformed trust that The Black Phone uses as a backbone for terror to ensue, constatnly toying with our knowledge that times are no longer as simple and Finney should definitely not be walking home alone with an unknown boogeyman lurking about. And although we sit waiting for the ‘big surprise’ of The Grabber’s appearance, what we are not prepared for is how petrifyingly wicked the prowler truly is.
Hawke’s career spans across a plethora of films including Dead Poets Society (1989), Reality Bites (1994), and Boyhood (2014); Whilst these works portray his outstanding capabilities, his recital of a maniacal deranged serial killer in The Black Phone is a career-distinguishing extravaganza, exhibiting Hawke’s duality of being a deeply disturbed individual whose depravity also oozes a sense of childlike giddiness. Convoluting the story even further is the dark land that the film doesn’t neescarly assert, but is suggested throughout. Finney’s ghostly conversations with his captive chums allude to The Grabber’s motives as somewhat being connected to a regressive state of adolescence, where he doesn’t see himself as a grown man abducting little boys, but instead a fellow child. Here, Derrickson very much leaves further analogy and the dissection of what The Grabber is ‘capable’ of doing to the viewer’s imagination. Hawke’s performance is more than commendable, but it’s important not to forget all of the other characters that make the film what it is. Spiritually joining Finney in the basement is the titular gang of fellow victims who include a small town bully, a local baseball player, and most importantly Finney’s own friend Robin (Miguel Cazarez Mora), who over the course of the film becomes Finney’s ghostly sidekick, keeping him motivated to escape the cell and tackle his inner fears.
The surveyance of suggestion is another feature that is pushed constantly throughout the film. Gory imagery does not always equate to an overused gimmick to get a visceral reaction, instead it can be used as a rather quintessential and necessary plot device for cinema, especially in the works of zombie features or body-horrors. The Black Phone delicately works with heavy material without becoming too infatuated with the sensory elements. Yes, you will feel a shiver as you come to terms with how The Grabber has anihilated his victims, but the reaction isn’t thanks to a harsh show-and-tell, instead, Derrickson takes his time in unravelling the backstory and fleshing out the grounds to conjure a narrative that employs your own imagination, forcing the misdeeds to stay in your own psyche for long after watching. Through The Black Phone continuously telling not showing, we mould the story around our own fears and worries, making the film memorable and beyond personable.
In keeping in touch with Derrickson’s pathos of personalness is the setting and time that the film uses to force a further level of despair into Finney’s chances of escaping. During the 1970s and early 1980s there was an influx in abductions, raising the now too familiar saying of ‘Stranger Danger’ into public domain. During this time, milk cartons were plastered with missing posters, meaning that the threat and knowledge of alarming events were in the family home, not just a distanced and avoidable event on the news.
As with any major event, cinema took ahold of these panics and manifested the terror into works of media, with recent entries including Prisoners (2013), The Captive (2014), and I See You (2019). Films akin to these mystery dramas with heavy doses of horror have had a slight rehaul over the years, with studios opting to position the ‘missing kids’ narrative during one of the more notable heights of worry– during the 1970s/1980s. Rather than Derrickson using nostalgia and retro framings as an easy trick to hone in on the trend, the vintage aesthetic is used appropriately and to the film’s utmost advantage. In honour of the throwback vibes Finney becomes entirely hopeless, with zero social media to track his location, nor any savvy list to keep track of neighbourhood creeps.
Everything, whether it’s the dim layer where Finney is held, the retro style complete with grainy intercuts of 8mm footage enlightening viewers of Gwen’s visions, or even the foreboding score that knows exactly when to quieten before erupting into a thunderous peak- The Black Phone has it all, making it not only one of 2022’s most standout films so far, but also a strong contender for being one of Blumhouse Productions best releases yet.
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Conducting strange experiments that fuse together sci-fi and horror with a dash of absurd comedy is Troma Entertainment’s specialty. Troma is a production and distribution company that literally gives you as much bang for your buck as possible thanks to their sporadically glorious films that truly stand out amongst the rest.
During his time at Yale University, Lloyd Kaufman first dipped into the world of film when he produced his friend Robert Edelstein’s micro budget feature Rappaccini before going onto direct his first film titled The Girl Who Returned (1969), a black and white exploratory feature. Kaufman’s debut toured the film societies across the likes of Harvard, Yale, and a variety of other universities on the east coast, sparking a keen passion for cinema deep within Kaufman. During his postgraduate years, Kaufman would begin to work for Canon Films, a production company who would later produce hits such as The Hills Have Eyes Part II (1985) and The Texas Chainsaw Massacre 2 (1986). Here, Kaufman would meet John G. Avildsen (Rocky (1976) The Karate Kid (1984)) leading to their collaboration on the 1970 thriller Joe, which would be nominated for Best Original Screenplay at the Academy Awards.
A short while after his introduction to film, Kaufman would direct his second feature Battle of Love’s Return (1971), receiving high praise across the board. Whilst Kaufman was setting up a budding future as a filmographer, fellow Yale student Michael Herz would begin to feel his own interest in movies emerging. Although Herz pursued a career in Law, the connection between the two sparked a growing urge to turn their passion into a much bigger venture. Leading them to work together on Sugar Cookies (1973) where Kaufman would co-write and produce, with Herz also serving on the production crew.
This collaboration was certainly a success, but no one could have known that this pairing would lead to one of America’s most notorious independent production and distribution companies.
Troma’s baby steps on their journey to triumph started off with producing racy comedies including Squeeze Play! (1979), Waitress! (1981), Stuck on You! (1982), and The First Turn-On! (1983), all of which cemented their still solidified b-movie reputation. As the years progressed so did Troma’s manifesto. To nobody’s surprise the 1980s and horror have a convoluted, but loving connection with one another, thanks to the rise in censorship, home video, and cult cinema. More importantly, the 1980s saw Troma Entertainment reach new bounds with The Toxic Avenger (1984). The film pushed Troma into the forefront with its camp tone, quick witted humour, gross-out gore, and cartoonish horror vibes that were unlike anything else at the time. From this moment on, Troma navigated away from the raunchy specials and led the way for b-movie horror to excel and become a fully fledged subgenre in its own right.
Overtime, The Toxic Avenger has spun an entire mixed media franchise including video games, multiple sequels, a stage production that premiered on Broadway as well as theatres across the globe, various action figures and merchandise, a TV series, and most recently a brand new adaption coming some time next year starring Peter Dinklage, Jacob Tremblay, Kevin Bacon, Elijah Wood, Taylour Paige, and Julia Davis.
With The Toxic Avenger under their belt, Troma was set! But, their 1984 smash hit was just the beginning in a long line of farce splatterfests. With The Toxic Avenger still fresh on the scene, Troma used the lingering spotlight to crack on with a string of similarly wacky sci-fi’s with Class of Nuke ‘Em High (1986) being their next feature to reach great heights. This time round the film was centred around the students of Tromaville High after their water supply is infected with toxic waste, causing them to mutate into freakish humanoids.
Within the next couple of years Troma released a string of other films including the obscure Surf Nazis Must Die (1997), Troma’s War (1988), Rabid Grannies (1988), and Chopper Chicks in Zombietown (1989). From the titles alone, it’s clear to see that Troma had nudged themselves nicely in a niche market of cinema that may get critically blasted as being ‘trash’, but is undeniably entertaining, devilishly memorable, and a barrel of laughs. With this impossible to categorise cinema comes a level of cult-style appreciation that may not appeal to the masses, but rather those with a taste for defiant works of colloquially misunderstood art.
As time moved on so did Troma, and with this came a quiet period for Troma’s production, but all of this changed with the release of the fan favourite Tromeo and Juliet (1975), which unsurprisingly is a very unleashed retelling of the Shakespeare tragedy that thrives less on the endearing battle of romance, hardship, and family values, and more on the ‘love’ side of the story, as well as causal doses of dismemberment, decapitation, and mutilation for good measure. And just like that, Troma was back with a vengeance. Even major media outlets notoriously difficult to please such as The New York Times and Variety saw the magic that Troma cinema withholds, granting the film with pleasant reviews and a burgeoning reputation. To make matters even more gratuitous, Tromeo and Juliet was screened at the prestigious Cannes Film Festival, the Mar del Plata Film Festival (where it won an award for best film of 1997), and the Fantasporto festival. As the 2000s hit, Troma released another string of outrageous and courageous films including the ever so graciously named Poultrygeist: Night of the Chicken Dead (2006) that followed a batch of zombie chickens unleashing a wrath of hell.
Within the last couple of years, Troma has seen a resurgence in popularity with the remake influx booming a new generation’s interest into cinema’s most unconventional production company. Going back in time to 1980, Lloyd Kaufman’s brother Charles directed and co-wrote Mother’s Day, with Lloyd producing. Although during its initial release, the film was banned by the BBFC in the UK as part of the video nasty crusade, a remake was ordered in 2010 starring Rebecca De Mornay, Jaime King, Briana Evigan, Deborah Ann Wolf, Shawn Ashmore, and the Kaufman brothers who made a cameo in homage to the source material. The remake performed well upon its release, even slotting itself in the UK’s top ten box office chart.
In Troma’s indisputable distinct style, they launched the TromaDance Film Festival that has very, very strict rules- there must be no V.I.P’s (everyone is treated equal), there is no entry cost, nor is there an admission fee; it’s all about the celebration of filmmaking. The event originally coincided with the esteemed Sundance Festival to even further boast their unique braveness of shedding away from the mainstream time and time again. The festival is open for submissions around the world, with the most creditable entries being released on DVD by Troma. Alongside the event, Kaufman offers workshop-esque lessons to budding filmmakers, providing teaching classes and cameos for those interested in pursuing the dark art of indie cinema.
Troma has become so infiltrated in all things cinema that many do not realise how influential the company really is, or how much of a significant part they play in kick-starting fan favourite performer’s and director’s careers. Many of their releases aided in the journey for stars such as Samuel L. Jackson in Def By Temptation (1990), James Gunn (Tromeo and Juliet), Marisa Tomei (The Toxic Avenger), and South Park (1997-) creators Trey Parker and Matt Stone via Cannibal! The Musical (1993).
As it stands Troma still thrives in the home video market, encouraging the in-person viewing experience of picking up a tape or a DVD from time to time. But, for the ‘tech-heads’, Troma has a streaming site service titled Troma Now that provides keen movie-goers with many of the greats from their company. To this day, Troma’s influence can be felt amongst the likes of current parody-based theatrics such as the Sharknado and Birdemic franchises that use immensely surreal visuals edging on the comedic side with entirely implausible narratives that will have even the most wondrously minded of viewer’s bewildered.
Even though it has been decades since their first feature, Troma shows no signs of stopping their madness just yet, with their latest feature Shakespeare’s Shitstorm (2020), a hilariously crude parody of Shakespeare’s The Tempest currently making the round at film festivals and conventions. Their ability to still churn out hit after hit just goes to show that Troma is still relishing in its ability to traumatise its viewers, ensuring a memorable experience with every filthy film watched.
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Scream (Directed by Matt Bettinelli-Olpin and Tyler Gilett)
Release date: 14th January
Kicking off this exciting year for horror is Scream. If there was any film that ignited a wave of excitement amongst movie-goers last year then it was the news of Ready or Not (2019) directors Matt Bettinelli-Olpin and Tyler Gilett bringing back Ghostface once again. The upcoming fifth instalment in the beloved franchise, created by horror icons Wes Craven and Kevin Williamson brings the series back in a new light, with Sidney Prescott, Dewey Riley, and Gale Weathers all returning to Woodsboro once again. Just like its predecessors, the plot details of the new Scream have been kept quietly under wraps, but the poster does give us a sordid tease at who the new villain is thanks to the witty tagline- “The Killer is on this Poster”…
Don’t Worry Darling (Directed by Olivia Wilde)
Release date: 23rd September
Olivia Wilde made quite the impression with her hilarious coming of age comedy Booksmart back in 2019, and now she is bound to ‘wow viewers yet again with her upcoming psychological film detailing the tale of a bored housewife in 1950s America as she unveils a dark secret, whilst her husband harbours a disturbing truth of his own. Starring in Don’t Worry Darling is Florence Pugh, Harry Styles, Chris Pine, Douglas Smith, and Gemma Chan. The teaser trailer has already got devoted Styles fans hysterical, especially when you take into consideration those rumours about the steamy scenes between him and Pugh (whose phenomenal performance in Midsommar [2019] will go down in history).
You Won’t Be Alone (Directed by Goran Stolevski)
Release date: 22nd January
You Won’t Be Alone sets the scene of a young witch who lives abandoned and feral in the woods. The isolated mountain setting ensures her secrecy, but curiosity strikes when she accidentally kills a peasant in a nearby village. The witch then shapeshifts into her victim’s body to quench her thirst for a human experience. However, events turn sinister when she begins to take the form of other bodies, leading to a riveting path of human discovery. The Macedonian set film will premiere at the upcoming Sundance film festival later this month, with high hopes already blossoming amongst future viewers all in ode to the spectacular trailer released late last year. Across the film an experience is provided, with the powerful themes not being afraid to cross emotional boundaries as stunning visuals and intense performances unite to simultaneously conjure shock and allure.
Nope (Directed by Jordan Peele)
Release date: 22nd July
Jordan Peele’s first film Get Out released in 2017 completely stole the limelight from the get go, it even did something that horror movies rarely get the opportunity to do, win an Academy Award. Soon after his debut, Peele released Us (2019), another first class film whose legacy will continue for years. It’s safe to say that audiences have been holding out for his next project. Luckily enough, we won’t have to wait long as Peele’s latest venture, mysteriously titled ‘Nope’ is set to be released this summer! Not a single ounce of information has been released about what the film entails besides the cast and the gripping poster. Leading the compelling lineup is KeKe Palmer, Daniel Kaluuya, Michael Wincott, Steven Yeun, and Barbie Ferreira. Although we do not know much, the aforementioned poster does make your thoughts run wild as to what Peele has got up his sleeves; could the carnival-esque setting pictured be hinting at a circus based setting? or could it just be throwing us off the scent? Only time will tell…
Orphan: First Kill (Directed by William Brent Bell)
Release date: TBC
Isabelle Fuhrman gave one of the most haunting performances modern horror has witnessed in Jaume Collet-Serra’s 2009 smash-hit, Orphan. Over a decade later director William Brent Bell brings the terrifying ‘Esther’ back to the screen as we follow her origin story. This upcoming horror is designed to be a prequel to the events in the first film and how Esther’s maliciousness was molded. The plot is set to begin with her escaping from an Estonian asylum, and then taking on the identity of a family’s missing daughter, but Esther’s childlike impression is not fooling everybody. Orphan: First Kill utilised creative filmmaking, such as forced perspectives and body doubles to ensure that Fuhrman pulls off that same doe-eyed performance that she mastered all those years ago. Joining Fuhrman are Julia Stiles and Rossif Sutherland, who will play the unsuspecting family that Esther digs her claws into.
Bed Rest (Directed by Lori Evans Taylor)
Release date: 15th July
Bed Rest is certainly a standout indie horror due to come out this year. The script is an original story, the cast is more than promising, and the plot is beyond intriguing. Bed Rest comes from writer and director Lori Evans Taylor, who has written the latest upcoming instalment of the Final Destination franchise. Bed Rest will follow Julie Rivers (Melissa Barrera), an expecting mother who moves into a new home with her husband to get a fresh start. Soon after she is ordered to bed rest, causing her to become frustrated through the monotonous routines of her now day-to-day life. However, boredom will be the least of her troubles as she begins to experience ghostly events within her home, leaving her to question her own sanity and safety. Amongst a year crowded with reboots, remakes, and revivals, Bed Rest will certainly be a rejuvenating injection for the genre.
Hellraiser (Directed by David Bruckner)
Release date: TBC
The Hellraiser franchise has long garnered massive amounts of praise ever since Clive Barker’s intense visions was adapted for screen in 1987, encouraging an embrace for darker horror with taboo themes. Continuing the ever expanding Hellraiser universe is David Bruckner’s reboot, which will closely adhere to the original source material from Barker, The Hellbound Heart (1986). The news of this installment has been floating around for years now, with constant back and forths and creative disagreements causing the project to fall through. However, with the likes of David Gordon Green’s Halloween (2018) blossoming in popularity and generating an interest in horror classics, Hellraiser finally got the green light.
Horror reimaginings over the years have adapted and remolded their iconic villains, and now the infamous Pinhead, leader of the mighty Cenobites, will be played by the incredibly talented Jamie Clayton, the series first female Pinhead.
The Black Phone (Directed by Scott Derickson)
Release date: 24th June
Blumhouse Productions is set for another very successful year, particularly in ode to Scott Derrickson’s The Black Phone amassing a lot of buzz. The film is an adaptation of the 2004 short story from Joe Hill, that will take the viewer on a journey back in time to the 1970s where a string of abductions are plaguing a small suburban town in Colorado. Mason Thames will star as Finney Shaw, a young boy who gets kidnapped by a spiteful serial killer, resulting in him being trapped inside a completely soundproof basement. It seems that all hope of discovery is gone, but Finney discovers a disconnected phone that has the ability to feedback voices of the killer’s previous victims. Ethan Hawke makes his return back to horror through playing ‘The Grabber’, the sinister man responsible for the disappearances. As seen in the trailer, The Black Phone has something for everyone, whether it’s a creepy mask, haunted basements, a dash of psychological horror, or a vicious fight for survival.
Bones & All (Directed by Luca Guadagnino)
Release date: TBC
Bones & All is one of the most promising films to be released later this year across every single genre. The film stars Timothèe Chalamet and Taylor Russell, accompanied by Luca Guadagnino as director. Bones & All is based on Camille DeAngelis’s novel of the same name. Throughout the book, copious themes surrounding loneliness and angst, all encased within a dramatic, romanticized frame are explored. Although these elements are already weighty subject matters, what Bones & All exposes above all is the relationship between cannibalism and self discovery, as we follow Maren (Russell) and Lee (Chalamet) whilst on a treacherous road trip across America where a craving for flesh lays bare more than they can handle.
With Guadagnino behind the camera, the film is sure to join previous masterpieces exploring such hypersensitive material, such as Ravenous (1999) Trouble Every Day (2001), and Raw (2016).
Halloween Ends (Directed by David Gordon Green)
Release date: 14th October
Halloween has not only sparked an interest for horror amongst younger audiences, but it has also generated a more than pleasant reception for die hard Michael Myers fans. The final instalment within this reboot trilogy is set to be released this October, meaning that it’s not long until we get to see the conclusion of this riveting battle between Haddonfield residents and ‘The Shape’. Direct plot details surrounding Halloween Ends have been kept extremely hushed, and considering how merciless Halloween Kills (2021) was, anything can happen next. What we do know is that in the film (unlike the previous two) the events will not take place on the same night, instead there will be a time leap of four years where issues surrounding the pandemic will be covered. Although this decision of focusing on incorporating a sense of grounded reality is beyond a risk, hopefully David Gordon Green will pull it off.
Something in the Dirt (Directed by Justin Benson and Aaron Moorhead)
Release date: TBC
Justin Benson and Aaron Moorhead have collaborated many times before to create some truly amazing cinema, particularly Spring (2014) and The Endless (2017). Once again they are expected to deliver yet another visually impactful and emotionally rich film in their latest project Something in the Dirt. The ominously named film acquires the acting talents of Benson and Moorhead as they play the characters of neighbours John and Levi who witness supernatural occurrences in their apartment complex. Upon realising that their ghostly haunts could earn them some serious internet wealth and fame they begin to document the events, only to voyage down a much darker rabbit hole. The duo have proven in previous works that they have a natural talent for showcasing complex relationships with the self, all the while forgoing cliches and predictability.
Texas Chainsaw Massacre (Directed by David Blue Garcia)
Release date: 18th February
https://www.youtube.com/watch?v=sHzYCSZW6lY
Back in the early 1970s Tobe Hooper was an assistant film director at university doing documentary work on the side, hoping for a shot at cinematic success. Little did anyone know that he would become one of the biggest horror icons in filmic history all thanks to The Texas Chainsaw Massacre (1974). The franchise has spawned a further eight films with the latter being released in February this year. This take revolves around Melody (Sarah Yarkin), her sister Lila (Elsie Fisher), and their friends Ruth (Nell Hudson) and Dante (Jacob Latimore), as they travel to rural Texas to set up a new business venture. But, the harmony doesn’t last for long as they land in Sawyer’s territory, encountering Leatherface himself. Their only chance of survival comes from the return of Sally Hardesty (Olwen Fouéré), who’s been waiting for a chance at vengeance all along. David Blue Garcia serves as director, whilst Fede Álvarez and Rodo Sayagues wrote the original story. Texas Chainsaw Massacre will be a direct sequel to the original, discounting all of its predecessors. There have already been multiple attempts at resetting the series, yet not all tries have been well received, Texas Chainsaw 3D (2013) only holds a mere 19% rating on Rotten Tomatoes. Fingers crossed Garcia’s talents will ensure that this anticipated sequel will be a triumph.
Fresh (Directed by Mimi Cave)
Release date: 20th January
Mimi Cave’s feature film debut titled Fresh delves into the tribulations that innately infest the dating scene for women in the modern age. Daisy Edgar-Jones will play Noa, a singleton tired of scrolling on dating apps. On a whim, she goes on a date with the shy charmer Steve (Sebastian Stan). From the first date, their chemistry is fiery, leading to Noa becoming smitten, seeing a potential partner to settle down with, but an impromptu weekend away with prince charming unveils his unusual “appetite’’.The coverage surrounding Fresh has been sparse, but if that electrifying synopsis is anything to go by, then we’re definitely in for a treat.
All of Us Are Dead (Directed byLee Jae-kyoo and Kim Nam-su)
Release date: 28th January
All of Us Are Dead surrounds itself with one of the most famed movie monsters of all time- ZOMBIES! The undead (as gruesome as they are) always makes for great entertainment material, with old-time classics such as Night of the Living Dead (1968) to modern staples including Shaun of the Dead (2004) being considered as two of the best horror movies out there. To add to the ever expanding sub-genre is the highly anticipated South Korean TV series, All Of Us Are Dead which will follow a group of students trapped in their high school whilst a savage zombie apocalypse roars throughout society. The series is based upon the popular Naver webtoon titled Now at Our School created by Joo Dong-geun.
Archive 81 (Directed by Rebecca Thomas)
Release date: 14th January
Colliding a daring blend of truth and fiction is Archive 81, a convoluted series combining found footage, cult activity, cold cases, and demonic activity, The series is co-produced by the one and only James Wan, the force behind the Insidious franchise, the Conjuring Universe, and most recently the opinion dividing Malignant (2021). Archive 81 will take us on a menacing journey with Dan Turner (Mamoudou Athie), an archivist who is employed to restore a horde of damaged videotapes dating back to 1994. On the tapes is the work from documentarian Melody Pendras (Dina Shihabi), who went missing under suspicious circumstances 25 years ago after investigating a shady cult. Archive 81 is a semi-original piece, with the inspiration coming from a real-life, found footage podcast of the same name that explores the fictionalised mystery of cults and rituals.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
In no particular order here is our favourite films of 2021, from film festival premieres to big screen releases its been a great year for independent releases!
1- Psycho Goreman (Directed by Steven Kostanski)
Siblings Mimi (Nita-Josee Hanna) and Luke (Owen Myre) discover a glowing crystal whilst digging in their garden, in doing so they unknowingly resurrect PG, an ancient Alien creature who threatens to destroy the entire world.
Psycho Goreman is simultaneously wacky, wild and witty, as Steven Kostanski delivers a vivacious love letter to classic 1980s B-movies. The film is brimming with impressive effects. PG’s design is practically flawless, as his extraterrestrial demonic exterior oozes a textured glow that stands alongside fellow horror movie monsters such as Hellraiser’s Cenobites and The Toxic Avenger himself.
The gory aesthetics washed across the film is a blast to watch, but the whopping effects are not the only punch packed. Plenty of savage dark humour is sprinkled throughout, creating many laugh out loud moments. The majority of the absurd comedy comes from Mimi, who is both extremely well written and entirely hilarious without coming across as immature and clumsy. Mimi’s quick comedic timing nails the scene, with one of the most memorable moments coming from Mimi, Luke, and PG’s garage band session where the film is interrupted by a two-minute song and dance break. And this is precisely why Psycho Goreman is entirely ludicrous, yet so very entertaining – it simply doesn’t take itself too seriously.
Beth (Rebecca Hall) is grieving the death of her husband Owen (Evan Jonigkeit) after he suddenly commits suicide. Whilst searching for answers as to why he killed himself she unearths a sinister secret.
The Night House brews a slow, moody horror that ignites a melancholic spark to provoke intense sensations of dread and foreboding angst. David Bruckner demands the audience’s devout attention. The Night House delivers its terror through employing staggering reveals and bountiful metaphors, the film simply grasps us from the outset without becoming overbearing. The overarching significance of Beth’s journey becomes more and more suffocating as the sinister understanding of Owen’s death is revealed. Hall’s acting has to be one of the most exemplary performances throughout any film of the year, her devotion to transcending into an unhinged, morose woman stricken with heartache is unbelievably moving.
The Night House is an outstanding entry into the world of horror, but beyond everything, the focal point of the praise emerges from Bruckner’s handling of death. The film wields a mirror technique that forces the viewer to look at their own understanding of grief, and how it would feel to actually experience a tragedy so deep that you forget the reality that resided beforehand.
3- Wyvern Hill (Directed by Jonathan Zaurin)
Beth (Pat Garrett) has begun to show early signs of alzheimer’s, leading to her daughter and son-in-law taking her in. However after their move to an old house on Wyvern Hill her symptoms begin to worsen as she loses her grip on reality.
Wyvern Hill is a haunting portrayal of personal grief through an entwined tale of uncertainty, lingering memories, and the decay of reality. Director Jonathan Zaurin, joined with writer Keith Temple, constructs a deeply haunting narrative that lingers with the viewer long after watching, in response to the strangely cathartic world built throughout the film. Whilst the reliance of emotions and diminishing identity is important to the heart of Wyvern Hill, the film has a brutally callous edge that is not afraid to pull out all the gory stops to ensure that we will not forget it for a long time. The viewer is continuously pushed and pulled in every direction, mainly thanks to Zaurin and Temple’s deceptive motives; Beth’s perspective is not entirely meant to be trusted, with the disturbing visions she’s experiencing both confusing and alluring us into her eerie state of mind. This avoidance of settling into a formulaic plot shoves the film onto another level that many other horror’s wouldn’t even dare to go, making Wyvern Hill a film not to be missed.
Premiered at the 2021 festival and winner of ‘Best feature’, you can check out our full review here.
4- Censor (Directed by Prano Bailey Bond)
Enid (Niamh Algar), a particularly cautious film censor, views a heinous video nasty, inspiring her to embark on a journey to unravel what happened to her missing sister all those years ago.
Censor births a retelling of the systemic delusions that were formed under the video nasty movement in 1980s Britain. This rise in hatred saw horror films being ripped to shreds by the media in a contradicting moral panic where literal laws were put in place to prevent the ‘innocent’ from getting ahold of so-called filth. Despite this movement being notoriously documented, not many filmmakers set out to taunt horror’s biggest scandal… Well, that was the case until Prano Bailey-Bond created Censor. The film devotes itself entirely to rarefied horror, with Bailey-Bond’s esoteric treatment of enticing panic alongside contemporary commentary forcing a stirring rendition of cinematic history. Provocative digs at film classification are rife throughout the film, with the various nods to the ridiculous rules even provoking the odd chuckle out of the viewer. But, the most dominating factor is the harrowing subplot that is explored. The feeling of loss experienced by Enid worms its way through the film’s emotional undertone, allowing the viewer to become lost in grief alongside Enid, creating a frightening account of moral turmoil.
5- Zomblogalypse (DIrected by Hannah Bungard, Tony Hipwell & Miles Watts)
Zomblogalypse follows three rather amateurish survivors of a zombie apocalypse that destroyed life as we know it. To counteract the inevitable boredom that surrounds complete isolation they maintain a video blog to tell their story.
Zomblogalypse unleashes a world of chaos, fun and utter madness throughout, with the neverending laughs and gory effects creating a zombie film to remember. Zomblogalypse is an adaptation of the beloved web series of the same name created by Hannah Bungard, Miles Watts and Tony Hipwell. Pushing the film’s brave bravado into the spotlight is the immense comedic timing emphasized by the grand element of found footage. The entire premise of the film relies upon the banter between the trio as they navigate life post-apocalypse.
Through utilising the intimate vibe that found footage provides, the viewer becomes heavily involved within the story, almost joining the gang on their ridiculously hilarious journeys. There are many quick jokes that don’t even need a ‘song and dance’ to be funny, in fact, one of my favourite moments has to be the casual ‘days without bites’ notice board. But, rather than allowing the film to slip into a trivial parody, elements such as superb gory effects and a deeply original plot allow the film to rise above and become the most refreshing zombie film of the year.
Winner of the Dead Northern Award at this years festival, you can check out our full review here.
6- There’s Someone Inside Your House (Directed by Patrick Brice)
After Makani (Sydney Park) moves from Hawaii to Nebraska it seems that all her troubles have been left behind, that is until a series of brutal murders erupt amongst the graduating class of the small town.
There’s Someone Inside Your House may not have received stellar reviews across the board, which despite my praise of this film is not overly surprising thanks to mass audiences not being fond of the slasher genre revival. Over the course of recent years there have been many stabs at reinvading slasher territory, with the likes of Cold Prey (2006) and Terrifier (2016) all taking aim at reviving nostalgic horror.
However, although acclaim is found amongst these film’s target audiences, there still is a universal lack of general appreciation. Patrick Brice’s adaptation of Stephanie Perkins’ 2017 novel of the same name may have garnered a slightly rocky reputation, but for many (including myself) it hit a sweet spot. From the very first opening scene, it wouldn’t be impossible to guess the standard plot points. That said, the entire film revived this certain feeling that I haven’t felt in years whilst watching a horror. Do you remember when you first got into the genre? When you were watching some grizzly frightfest when you should have been getting ready for school the next day, but instead you’d be hiding behind a cushion and screaming for the unknowing victim to turn around to see Michael Myers or Jason Voorhees standing right behind them? Well, that exact excitement and boldness were recaptured within There’s Someone Inside your house.
If you want to forgo reality for a while and not pay attention to whether the narrative is socially significant, or whether the timings are truthful then this gem is exactly what you’ve been waiting for. Not every film has to be a meaningful journey, sometimes all it takes is a creepy mask and some killer antics.
7- Titane (Directed by Julia Ducournau)
Alexia (Agathe Rousselle) has grown up with a titanium plate fitted into her head after surviving a tragic car accident when she was younger. Years later, she now works as a performer at a motor show, keeping her strange devotion to vehicles close.
As with Julia Ducournau’s previous feature Raw (2016), Titane blasted through film festivals with ease, earning the Palme d’Or at Cannes 2021. Titane oozes a certain slickness that makes way for the intense titillation, dominating the screen and dictating the audience’s observations. Through this full-throttled antagonism that is paraded, an exploitative form of body horror is closely held, muting any concerns as to whether Ducournau is brave enough to ‘go there’, particularly through the symbolic bond between hardware and the body.
Documenting such controversial topics is not entirely foreign to horror cinema, with David Cronenberg’s Crash (1994) previously exploring those with Symphorophilia (arousal via car crashes). Crash focuses on this similar autoerotic asphyxiation towards vehicles; but do I dare to say that Titane goes above and beyond every ‘mainstream’ film that has explored similar topics. In a valiant way, the film leans into this void of understanding, we could easily pin fetishism to Alexia’s fascination, except her inner delirium runs far deeper than an obsession with something. Ducournau exaggeratedly taps into humanity’s primitive state of needs, forgoing traditional methods in favour of sculpting a mechanical outlook on intimacy and desire.
8- The Columnist (DIrected by Ivo van Aart)
Femke Boot (Katja Herbers) is a writer who is juggling pressure from her publisher to complete her book alongside handling a barrage of anonymous death threats online. Tired of the houndings she decides to take matters into her own hands.
The Columnist exudes a magnetising charm that toys with your expectations and scrambles any form of routine when it comes to tropes. We’re all guilty of it, searching through some pointless comment section to read foolish replies that you fully know will tick you off. We just can’t help it. This animosity that comes with such child’s play was just screaming to be adapted for the big screen; luckily enough this is where The Columnist comes into frame. The film is very much reliant upon Femke’s character to show off the script’s devilishly dark humour and manically graphic kill scenes. And through this intriguing amalgamation of morally tainted actions comes a warming sense of gratitude, we totally end up routing for Femke. Hell’, I even cheered her on at multiple points, but the film doesn’t solely target her incessant revenge plot, instead, we are treated to a couple of interesting subplots to keep the pacing exciting, particularly Femke’s blossoming romance with a fellow writer, and her daughters journey into self-confidence.
The Columnist may from the outskirts seem like another kill-revenge sequence, but it is truly a powerhouse of delightfully savage barbarism.
9- Violation (Directed by Madeleine Sims-Fewer & Dusty Mancinelli)
Miriam (Madeleine Sims-Fewer) along with her estranged husband Caleb (Obi Abili), visit her younger sister Greta (Anna Maguire) and her partner Dylan (Jesse LaVercombe) for a fun weekend trip. But, when the evening quiets down Dylan assaults Miriam, inspiring her to take revenge.
Violation refuses to beg for our attention, nor does it take any pity when it comes to exhibiting the harsh truths that emerge from rape. Miriam confides in her sister, expecting to be met with anger and sorrow towards Dylan’s actions, not Miriam’s. Alternatively, she gets scolded by her own sibling and is quite quickly dismissed as being an attention seeker, igniting a stern fury amongst every viewer. Dylan as to no surprise brushes the incident off and acts stunned that his own sister-in-law would make such an accusation. Violation doesn’t just immediately revolt to an over salacious assault scene, followed by a barrage of cathartic kills. Instead, we are treated with a tortuously slow release where nothing (literally nothing) is shielded from our eyes. Sims-Fewer and Mancinelli understand that this subject matter is not to be miscalculated or fraudulently paraded, it is to be respected with a strong portrayal of accuracy; and it is through this emotionally encompassing evocation that Violation shines.
Eloise (Thomasin McKenzie) is a wannabe fashion designer who moves to London to achieve her dreams. During her time in the city she finds solace in a place infused with such iconic history, but after she discovers her ability to travel back in time to the 1960s she discovers that everything is not as it seems.
Last Night in Soho thrives through its own chaotic exploration into 1960s media and social culture. Throughout, the film is laden with stylish iconography of the swinging sixties, making you nostalgic for a time that may be totally irrelevant to the viewer’s personal history, but that’s where Edgar Wright yields his charm. We become entirely lost with Eloise in this twisted time scale, not knowing where we are headed next. Naturally, as a result, all of the eerie moments are harshened, exemplifying the fear factor. Accompanying the bold twists and turns is the dazzling aesthetics that are reminiscent of lush giallo films from the 1960s and 1970s. Neon lights douse the film’s daring climaxes with a warming glow, ensuring that the graphic violence has a spotlight the entire time.
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