In March of last year, Ti West returned triumphantly to the horror genre with X, a brutal tale of rural slasher madness combined with an eccentric dose of eroticism. X was quite the success story, with reviews falling in the film’s favour. Also stirring up the film’s limelight was Mia Goth’s dual performance as Maxine, an aspiring starlet, and Pearl, an elderly woman with a burgeoning lust for life. Both characters were hungry for fame and desire, but what left audiences baffled more than anything was the sheer enthusiasm in Pearl’s persona; she was a force, a powerhouse, and, most importantly, incredibly complex. It arose the question of what or who made Pearl a horrific but inspiringly passionate person.
With what many have described as an Oscar-worthy entry, and one of the best character studies in recent years is West’s latest feature, Pearl, the second in the soon-to-be ‘X’ trilogy. The film takes place in Texas circa 1918, where inside a strict rural farmhouse lives Pearl, a young woman desperate to live the life that glitters after falling in love with the hustle and bustle of Hollywood. With the constant knockbacks ruining her chance of fulfilling her dreams, she finally snaps, and all hell lets loose.
Pearl is truly an exercise in the importance of performance. Just as Jack Nicholson made The Shining (1980) and how Kathy Bates made Misery (1990) quintessential classics, Goth dominates the screen and commands your attention and forces the viewer to fall under her mesmerising spell. With every ounce of blood spilt is Goth’s ability to be quite the anti-hero whilst still being frightening enough to create that typical distance that makes you simultaneously fear and connect to her.
Further carrying Pearl’s impressive calibre is the copious layers of cinematic charm that West mediates throughout. The setting of the rural farmhouse is a boiling pot of sheer terror as the dusty fields turn from camouflaged greens to crimson as Pearl and her murderous antics escalate. The scoring is beyond performative as the orchestral, grandiose strings swell with each fleeting moment. The cinematography and editing is a fierce force that beautifully captures every visceral moment.
Even in the most chaotic of scenes are shown in such an impassioned and earnest way whilst still digging its claws deep into the gritty horrendous psyche of Pearl.
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The finale, the third act, the big reveal. These are all desperately important points in a film that opens the door for renowned reputations and unforgettable experiences to be had. Psycho (1960) revealed that Norman Bates (Anthony Perkins) was acting as his dead mother all along, and The Sixth Sense (1999) unveiled that Bruce Willis was in fact a ghost for the whole film – both memorable and commendable. However, amidst all the ghostly apparitions, slasherific slayings, and zombified herds, no other horror makes the viewer as bewildered and utterly bemused as Sleepaway Camp (1983).
Robert Hiltzik’s Sleepaway Camp chronicles one treacherous summer at Camp Arawak. People go missing only to show up dead, bullies thrive amidst the teenage hierarchies, and one young girl reveals a troublesome, horrifying secret.
In the fall of 1982, Hiltzik along with a relatively small crew and an even smaller budget took to a quiet lake on the rural side of New York to film a movie far from tranquil. The production was met with its fair share of setbacks, including the storyboard being completely thrown off via scheduling difficulties, and the surrounding forgery turning into an autumn landscape rather than that summer green they had hoped for. However, just as most 1980s horror movies show, Hiltzik was not put off as himself and the crew slugged through the unpredictable path of independent filmmaking. But the reward was certainly worth it, as 40 years down the line its cult following is continuously growing and fans remain awed at the marvellous gnarly slasher that still instils shock value all these years later.
The film works due to its exceptional practical effects, solid yet ‘unique’ performances, and THAT ending!
As with many films from its time, the post production team were rarely afforded with the luxury of CGI- although as visual evidence supplies, practical effects supremely reigned as champion between the two. Out of all the fantastic effects, two that stand out above the rest are the ‘arrow-neck’ and the ‘boiling pot kill’. Ed French and Ed Fountain, the special effects team, have spoken about the infamous arrow-to-the-throat death, which refuses to rely on cutaways and clever editing to show a sharp arrow piercing through an unlucky victim’s jugular. Due to the duo’s cryptic trickery, it has been heavily debated as to how an effect this realistic and hard to pull off was ever completed in the low budget climate.
As the decades have gone on, the pair have finally revealed their secret. A Mechanical rig was latched underneath a prosthetic neck, hiding a foldable arrow that would unravel like a springboard when hit with a prop arrow, providing the illusion of a clean cut stabbing.
The boiling pot kill showcases a drum of ferociously hot oil being dropped all over an Arawak kitchen worker’s body, creating the most disgustingly graphic burns. French and Fountain pulled off this visceral effect with plaster moulding, heavily piled on stage makeup and sticky gelatine on top to give it that freshly peeled skin look.
Sleepaway Camp is home to two of horror’s most oddest, but fascinating characters – Judy (Karen Fields) and Angela (Felissa Rose). Judy plays Arawak’s resident mean girl, a brutally cruel, beyond bitchy, and impossible not to laugh at character that helps make the film the classic that it is today. Judy is filled with one-liners, with some of the best including “She’s a real carpenter’s dream: flat as a board and needs a screw!”. Field’s cold demeanour and awfully annoying (although deliberate) smirk as she hurls abuse is somewhat equally irritating and entertaining.
Then there’s Angela. Over the years Rose has become a horror icon, with ques lining her stand at every mass horror movie event. She plays her role with such conviction, and not at any one moment does the viewer understand her actions, Angela’s personality is a true enigma. But of course, there’s a reason why Angela is written as a rather empty, sketchy person… She is the Camp Arawak killer.
After the film hits its climax and plenty of blood has been shed, Hiltzik ends the film with a silent revelation showing a nude Angela standing tall with the most menacing of expressions, revealing an unexpected penis that stands out amongst her feminine energy throughout the rest of the film. Before analysis resumes, it is crucial to highlight the film’s criticisms. Upon its release 40 years prior, many have noted that Sleepaway Camp can ensue a message of trans people being violent simply because of their make-up. However, the contemporary perspective has allotted Sleepaway Camp as being a welcomed, queer-coded film that instigates an important conversation.
Sleepaway Camp’s opening illustrates a fatal incident, with two men, John and Lenny, taking John’s children (Angela and Peter) on a boating trip, which results in a boat crash leaving only one of the offspring alive. After the event, the tragically orphaned ‘Angela’ is taken in by their odd Aunt Martha, who seems suspicious but fairly caring. The third act reveals that the surviving child was not Angela, but instead Peter. Martha did not wish to care for a boy, she wanted a little girl, leading to Martha raising Peter as his dead sister Angela.
Sleepaway Camp is rooted within the tragedy of forced gender dynamics, placing Angela (actually Peter) in a body that they do not wish to conform to. The film speaks of the horrors that come from misgendering, and the trauma inflicted on youth who are forced to live in a gender that is socially placed on them. Whether Hiltzik initially interpreted the film to compose such a message, what matters is that from a retrospective view, the queer community has taken the horror film as an important piece of cinema that touches on canonical and wrongly tabooed subjects. Sleepaway Camp was ahead of its time, and it has finally reached a place of acceptance where its recaliment stands for something that rightfully means an awful lot to many people.
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Only a year has passed since audiences have heard Ghostface say “what’s your favourite scary movie?”, yet for fellow Scream fans and keen slasher-seekers, the latest addition to the franchise has been a long time coming. But was the wait worth it?
When it comes to the world of Scream, nearly everything has been said and done, and many fans have been apprehensive that the cycle is nearing its full circle. However, whilst spoilers narrow an all-revealing response, it can be assured that Tyler Gillett and Matt Bettinelli-Olpin deliver a hefty punch of nail-biting tension, with the thrill factor at an all-time high.
Scream is intrinsically woven with Woodsboro, the seemingly cursed town. However, just as the early days in the franchise sent the Ghostface-fighting crew on a state crossing mission, Scream VI sets its eyes on the city sights as the latest string of victims takes to ‘The Big Apple’. The New York setting both ups the ante and adds a whole new level of existential nihilism to the mix, stripping the ease of containment away. In Woodsboro, Ghostface was confined; somewhat unable to tread fear into wider paradigms. With Bettinelli and Gillet spinning a modern flare on the antics, Ghostface is unbelievably stringent, violent, and more frenzied than ever. In fact, it would not be a far cry to say that Scream VI is the bloodiest film of them all, with every kill being utterly brutal and beyond capable of making every viewer wince.
In its purest form, the world of Scream is a big whodunit mystery, a hardcore version of ‘Guess Who’, where we use the characters as pawns to root out the evil force within the group. And don’t forget the main rule of this cruel pastime – it’s always someone you know… Speaking of filmic traditions, Scream VI is literally plastered with horror easter eggs and nods to genre greats, with references to Psycho, The Babadook, Ready or Not, Giallo, Friday the 13th, The Ring, Argento, Peachfuzz, Carpenter, and of course all of the previous Ghostface killers.
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Grab some popcorn and get comfortable because In Search of Darkness is back!
In Search of Darkness Part III is here to rightly resurrect the 1980s and discuss all things slashers, splatters, and sleaze-fests, digging into what many would describe as the golden age of horror cinema.
In the 1980s, horror movies were blood-ridden and sheer full-throttle rides into extreme horror, taking the exploitation factors seen within 1970s grindhouse flicks and the desensitised sensibilities that were on the rise during the eighties to create films oozing with sex and violence. The subtext during this time was feral. The UK was up in arms with the video’s nasty panic, and the public was hungrier than ever for violent feasts. In Search of Darkness perfectly captures all of this with an energetic discourse that keeps the 5hr 38min runtime refreshing.
The segments follow in similar succession to its predecessors, allowing each year within the decade to be easily accounted for. Joining the dense sequences of film explorations are the stellar interviews that accompany each section and offer a range of experts’ and aficionados’ opinions on the genre greats from the decade.
The sheer beloved devotion that the documentary shows is a dedication to horror cinema, almost like a bloodied love letter to all things slashers that interestingly enough refuses to gatekeep the decade’s work to its original fans. In fact, In Search of Darkness welcomes new viewers and curiosity-seekers with open arms, abandoning the harsh mentality that younger generations only flock to the latest blockbusters and jumpscare-ridden frights.
Each segment, whether it’s cataloguing the greatest horror villains of all time, describing the most horrific death scenes from the classics, or revisiting the outstanding practical effects of the decade, every minute is covered by the best experts in the field. It will be of no surprise to anyone who is a keen viewer of the previous documentaries that Part III includes the notorious legends from horror cinema, including the likes of John Carpenter, Robert Englund, Barbara Crampton, Joe Dante, Linnea Quigley, Felissa Rose, Caroline Williams, Tom Savini, Bill Moseley, and Tom Atkins.
In Search of Darkness Part III is an encyclopaedia of 1980s horror that belongs on every horror fan’s radar.
Catch ISOD 3 right now on shudder, or order the physical release this via CreatorVC.
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In M. Night Shyamalan’s latest hit, patience levels, the boundaries of fact or fiction, and one’s very belief systems are tested. Knock at the Cabin valiantly hits where it hurts the most, where even the most sardonic of viewers will be left in floods of emotions.
The film follows Eric (Jonathan Geoff), Andrew (Ben Aldridge), and their daughter Wen (Kristen Cui), as they embark on a tranquil getaway. However, when a group of strangers arrive and ask for the impossible, their harmony soon becomes a fight for survival.
Knock at the Cabin may utilise a small cast and setting, but the performances are far from compact. Whilst every character shines within their roles, particular attention has to be paid to Dave Bautista, Alridge and Geoff, with each of them providing a dense, intimate portrayal of humanity on the brink of erosion. The portrayals of the anxious, on-the-edge group enhance the overall emotive tone of the film, literally commanding attention and forcing the viewer into becoming emotionally invested.
Further infusing the film’s tonality with a sense of lingering dread is the overall look of the film. Cabins are no stranger to horror, they go hand in hand, particularly in an isolated, rural location where no one can hear you scream. Except, what Knock at the Cabin does differently with the trope is that it refuses to simply rely on seclusion alone. Shyamalan chooses to additionally focus on the claustrophobic aspect of the setting. When Eric and Andrew are faced with a group of strangers telling them that tragedy is near, the vast surrounding forests are no longer open and vacant. Instead, the high trees act like a giant gate and the warm cottage transforms into a dungeon of sorts.
There is no escape and there is no redemption in finding brief capacities of freedom. In its most simplistic terms, the film truly roots its horror within the transformative nature of the script. What could be considered peaceful is made eerie, and what could be considered chilling is turned homely. And as with any Shyamalan film, expect the unexpected.
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Skinamarink has ruled the horror scene ever since its premiere at the festival fun last year, with many flocking to the web to bellow endless praise over creator Kyle Edward Ball’s debut feature film.
In what can only be described as an experimental film that relies on psychedelic exteriors and eerily sinister dramatics, is Ball’s personal account of fear, particularly the fear that sows its seeds into one’s psyche at an early age, and just manifests, adapts, and worsens as time goes on. As a guide for Skinamarink’s rooted terror, it is worth noting that in order for Ball to get right down into the nitty gritty of horror, he would ask via his youtube channel for audiences to comment on their worst nightmares, which often would stem from the boogeymen and monsters under the bed that we dream-up during childhood.
Skinamarink was born from Ball’s curiosity into fear, and more importantly, everyone’s fear; leading to a thoroughly fleshed-out understanding of how to scare an audience.
The film follows two children who upon suddenly waking up during the night discover that their father is missing and their house is now barren.
Skinamarink clearly works on a simple scale, with the story itself not bearing ludicrous, overdeveloped plot points and turns, instead Ball sets up a modest scene and allows the camera to take over and our imagination to run wild amidst the rather lonely, cold exterior.
Skinamarink employs the slow-burn route, taking sometimes excruciating amounts of time to build a chilling core that grapples with a harsh soundscape with classically sinister and gothic imagery. However, although the film has a ubiquitously atmospheric aura, Skinamarink certainly is not to everyone’s tastes.
Much of the criticism is mediated from the ‘obvious’ scares. Whilst keeping this as discreet and spoiler free as possible, many of the heightened moments focus on the aspect of a ‘forced scare’, akin to an updated, predictable jumpscare. But is there such a thing as an effective horror film that remains unquestioned?
It’s certainly a film that is going to create an interesting dichotomy. For some it will sow its seed deeply and for others it will be an entertaining watch and that’s it. I side with the former; it’s a brave expedition into white knuckled terror, taking both contrasting subtlety and outlandish subtexts to infuse a ghostly haunting tale of pure nightmare fuel.
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With Scream 6’s release just around the corner, the highlighting of Scream’s staple duo Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox) has never been more important. The pair nail the opposites attract trope, with Gale’s fierceness and Dewey’s softness being a perfect match to track down the copious Ghostface killers. Their on-screen chemistry was made even more present due to the fact that Arquette and Cox were married for over a decade.
2- Chucky and Tiffany (Bride of Chucky)
Chucky (Brad Dourif) and Tiffany (Jennifer Tilly) are the definitive killer couple who really are bad to the bone (or plastic in their case). The murderous team bring tough love to the forefront as their brutal jabs, constant bickering, and subsequent decimation of one another somehow lead to an iconic horror couple. Over the years, the pair have appeared in four movies together, as well as featuring in Chucky (2021-), the acclaimed TV series adaption of the franchise.
3- Evelyn and Lee (A Quiet Place)
Evelyn (Emily Blunt) and Lee Abbot (John Krasinski) belong to the blossoming Quiet Place franchise, which revels in the duo battling an apocalyptic landscape whilst still devoting themselves entirely to their marriage and children. In what can only be described as an extremely emotional state of affairs is the parting of Lee and Evelyn’s long partnership after the tragic ending of the first film. But the reason why the couple made such an impact with just one film is due to their impeccable connection in real life, with the pair being together since 2008.
4- Shaun and Liz (Shaun of the Dead)
Shaun (Simon Pegg) and Liz (Kate Ashfield) stray more on the unconventional side, particularly as they spend the majority of the film trying to juggle a fresh breakup with the impending doom that comes with a zombie outbreak. The beauty of Shaun and Liz revolves around the simplicity of their relationship, they break up, they make up, and ultimately create a dishevelled vibe that makes the dreaded zombie situation all the more heightened.
5- Seth and Veronica (The Fly)
Lying beneath the visceral body horror and Cronenbergian madness is The Fly’s rather emotional tonality as we see Seth (Jeff Goldblum) metamorphosis into a grotesque fly as his love interest Veronica (Geena Davis) has to watch him succumb to his illness. The Fly lures us in with all of its dismay and visual aesthetics, but what truly forces us to stay invested is the tragedy that comes between Seth and Veronica coming to terms with the impending deathly fate.
6- Adelaide and Gabe (US)
Adelaide (Lupita Nyong’o) and Gabe (Winston Duke) are one of the rare horror couples whose relationship remains unchallenged throughout the film; there are no affairs, serious disputes, or mentions of past mistakes. Rather than act as an instigator of tension, Peele simply infuses their marriage as part of the story. Through this subtlety it’s a given that we become invested in the outcome of the characters, meaning that every knock, blow, and tragedy stings just that little bit more.
7- Deena and Sam (Fear Street)
The Fear Street trilogy was certainly a standout surprise when it hit Netflix back in 2021, with each film surveying the unique stylisations that come with Summer slashers, witchy archaic atmospheres, and modern-day teen horror. Amidst all the chaos and thrills of every film, one running aspect that remained strong was the relationship between the two leads Deena (Kiana Madeira) and Sam (Olivia Scott Welch)—acting as a refreshing spin on the typical jock and cheerleader dynamic seen within the archetypal teen horror flick.
8- Morticia and Gomez (The Addams Family)
Whilst the world has taken Wednesday under its wing, the relationship between Morticia (Anjelica Huston) and Gomez Addams (Raul Julia) has simultaneously grown in popularity amongst newer audiences. But, Gomez’s cinematic love story has been brewing for years with their relationship first appearing on screen all the way back in 1964 in the original sitcom.
9- Big John and Little John (Halloween Kills)
Now… Big John (Scott MacArthur) and Little John (Michael McDonald) may not hold the strongest presence within the horror genre as their appearance in Halloween Kills was very much brief, but their impact was definitely not underwhelming. The hilarious duo is possibly one of the best factors in Halloween Kills, with the pair’s stellar comedic line delivery, and eventual brutal dismay making for a more than memorable watch.
10- Ed and Lorraine Warren (The Conjuring)
Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have been at the top of the horror love story hierarchy since their appearance in the first of many entries in the ever-growing Conjuring universe. The possession-battling duo are always shown battling it out together, at each other’s side. So much so, that even the latest Conjuring film (The Conjuring: The Devil Made Me Do It) focused on the relationship between the Warrens as a backbone for the entire film.
After a tragic accident leaves Cady (Violet McGraw)an orphan, heraunt Gemma (Allison Williams) takes her niece under her wing. With heaps of inexperience, and a busy schedule Gemma creates a state-of-the-art A.I. doll named M3GAN to keep Cady company. However, it is not long until M3GAN’s intelligence enters a deadly path.
It has only been a mere week since Gerard Johnstone’s M3GAN was theatrically released, but the horror powerhouse that is Blumhouse Productions has announced that this doll-gone-wrong movie will be followed by a sequel titled M3GAN 2.0. So, the question is, how good must M3GAN have been to have garnered its budget tenfold, as well as received viral success? Well, whilst the film certainly has its perks, there are a few restraints…
Murderous dolls are no stranger to the market, with nearly every movie fan being well acquainted with the likes of Chucky and Tiffany and the cursed puppets from the Puppet Master franchise. What makes all of these killer figurine films beloved is the niche territory of off-kilter humour, leaning on the irreverent side of comedy, along with a dose of gruesome kills and bloody antics. Not that cinema has to be soaked in viscera to be worthy of acclaim, but the brazen disposition that comes with doll horror owes itself to explore bold gore and gnarly visuals. Herein lies some of M3GAN’s contention.
A PG-13 rating band does not often hurt a film, yet the tonal distance from ‘what could have been’ in M3GAN’s story calls back to the multiple cuts that were made in post-production. Upon the trailer showing M3GAN dancing as if she was partaking in the latest social media craze, the marketing swiftly aimed the upcoming film to be a teen-based, viral-driven horror; subsequently meaning that many scenes were carefully cut and twisted to provide a more rose-tinted outcome. Even the film’s co-writer, Akela Cooper, spoke on the unrated cut, commenting on the cut scenes showing M3GAN at her most savage. Quite interestingly, there are a few strains of wickedness that slip in amidst the diluted graphics, particularly in one scene involving a nasty, queasy ear pull…With all of its success, perhaps one day the director’s cut will make an appearance.
Interestingly enough, what does result from the lack of brutality is a keen focus on the film’s humour. M3GAN exudes the most sass anyone has ever seen from a killer doll. Whether it’s the hair flips, impromptu singing sessions, or the sarky one-liners, M3GAN is one of the most iconic deadly toys. It’s these spurts of rambunctious ludicrousness that keep the lack of depth from bordering on dull. The film takes on a campy persona that introduces self-referential, cruel humour that seemingly understands the exaggerative tone of the film. Considering that many of the big horror releases over the years have teetered on the sardonic side (e.g. Freaky, Studio 666, Willy’s Wonderland, and Little Monsters), could 2023 be the year for studios to break away from the seriousness seen within the likes of A24 horror to live on the wild side again?
Despite the general humdrum in the film, what does a fantastic job of keeping the spirit alive is the design of M3GAN. Her appearance is both incredibly realistic, with her glassy eyes somewhat holding more personality than any other character. However, working simultaneously against this is the eerie ice-cold stares, robotic movements, and creepy silicone skin that the A.I. bot beholds. This is greatly highlighted in the shadow-ridden, nighttime scenes, showing M3GAN in all her harrowing lifelikeness.
M3GAN thrives in a subtle meta boundary where the viewer and screen almost negotiate a contract that vows for M3GAN to be an entertaining watch, but not necessarily anything more than that. And what seeps in via this is all the components for a bountiful amount of sequels, prequels, and possibly a spin-off tv show; which I’m sure will soon follow in M3GAN 2.0’s wake.
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Dead Northern takes a look at the big horror film anniversaries of 2023, which films will be on on your re-watch list?
1- Night of the Living Dead (Directed by George A. Romero, 1968) – 55th Anniversary
It can easily be said that without Romero’s Night of the Living Dead, the well-exercised zombie era would not be the same as it is today. This socially conscious story ignited a spark for the genre that would inspire many influential future filmmakers, including Edgar Wright and James Gunn. Romero’s classic will be celebrating its 55th birthday this year. Despite the time that had passed, this zombie extravaganza very much lives on to this day, with the film offering key paraphernalia that is paramount in any modern zombie feature.
2- The Wicker Man (Directed by Robin Hardy, 1973) – 50th Anniversary
The Wicker Man belongs to the Unholy Trinity of folk horror, along with Witchfinder General (1968) and The Blood on Satan’s Claw (1971) depicting rural picturesque scenes amongst utterly sinister crowds. The Wicker Man has captivated audiences for 50 years now. Not that this figure is easily believed considering how timeless Hardy’s countryside horror is. Perhaps it’s the performances by Edward Woodward, Christopher Lee, and Britt Ekland that make The Wicker Man the iconic film that it is. Or maybe it’s the endless displays of brooding tensions that culminate in an unforgettable finale that keep the film’s acclaimed flame lit. Either way, The Wicker Man is far from being forgotten, and it’s highly doubtful that it ever will be.
3- The Exorcist (Directed by William Friedkin, 1973) – 50th Anniversary
The Exorcist is one of the most colloquially known horror films across the globe and one of the few frightening features that garnered admiration from the Academy Awards. Friedkin’s tale of possession, demons and a genre-defining depiction of evils have granted The Exorcist a beloved place within cinema. However, this firm favourite was not without its controversy. During its initial release, there had been countless reports of fainting and nausea, ensuring the film’s banning in the UK for 11 years.
4- Sleepaway Camp (Directed by Robert Hiltzik, 1983) – 40th Anniversary.
Summer slashers are known for their camp (both figurative and literal) splatter-fests, with films such as Sleepaway Camp dominating this bloody, sunny, and very much ‘forward’ subgenre of horror. Sleepaway Camp delivers an impeccably entertaining storyline of a whodunit amidst a summer campsite, with plenty of extremely gnarly kills featuring along the way. However, if there is one thing that makes this 40-year-old film a classic, it is the iconic ending that will leave your jaw on the floor for a very, very long time.
5- Videodrome (Directed by David Cronenberg, 1983) – 40th Anniversary
If there is one thing Cronenberg is known for, it’s his exuberantly horrifying filmography that refuses to shy the camera away, instead directing the frame to be as visceral and infringing as possible. An excellent example of a pure Cronenberg gem that has stood the test of time (for 40 years now) is Videodrome, which is very much a body horror through to the bone. Working alongside the icky displays of gratuitous practical effects is the science fiction plot that transports the viewer into another dimension where morals are tested and the terrifying illusions of surreality are left to run riot.
6- Killer Klowns from Outer Space (Directed by Stephen Chiodo, 1988) – 35th Anniversary
On paper, the story of extraterrestrial creatures with clown-like appearances invading a small town should not work. However, there is something so hilarious and entertaining about watching alien clowns wielding popcorn guns, going absolutely berzerk on screen. Killer Klowns rivets in the absurd, which is wholeheartedly aided by the impressive practical effects that are an absolute testament to the creativity seen within 1980s horror.
7- Ringu (Directed by Hideo Nakata, 1998) – 25th Anniversary
Ringu is responsible for the nightmares of pretty much every audience member ever since its release 25 years ago. This timeless classic belongs to the long line of technology-based terrors, which is seeing a resurgence in the current horror domain. Ringu revels in the brooding terror of slow-burn horror that takes its time in building up to a horrifying conclusion, as well as introducing one of the genre’s most chilling creatures to ever meet the screen.
8- House of 1000 Corpses (Directed by Rob Zombie, 2003) – 20th Anniversary
Rob Zombie has garnered a slightly unbalanced reputation in the horror scene, with many believing his music to be better than his filmography. However, one film from his wide selection that many can agree on being an utter bonanza of cruel fun is House of 1000 Corpses. Not only is this the feature where Captain Spaudling (Sid Haig) made his mark, but it is also where Zombie showed off his extravagant style, with the film revelling in grindhouse cinema aesthetics. This now 20-year-old film is still as hyped today as it was upon its initial release, with its fanbase securing the film as a cult classic.
9- Wrong Turn (Directed by Rob Schmidt, 2003) – 20th Anniversary
During the early 2000s, a ‘new-ish’ type of horror film dominated the genre – a neo-slasher/ cabin in the woods-esque style of feature. It is difficult to determine a definitive answer, but many will refer to these films simply as the ‘early 2000s’. A Kickstarter and iconic entry into this market was Wrong Turn, which reaches its 20th anniversary this year. Wrong Turn thrives in the sheer gravitas of the Appalachian Mountains to display gruesome scenes of cannibalism, dismemberments, and the usual graphic debaucheries seen in teen horror.
10- Martyrs (Directed by Pascal Laugier, 2008) – 15th Anniversary
Many only watch Martyrs once as this gritty gem exudes such graphic levels of torture and violence that most deem it ‘sick and twisted’. This mainstream-extreme horror is a significant player within the New French Extremity paradigm that aims to shock and startle every step along the way. As Martyrs reaches its 15th year of disturbing audiences, its connotations remain stringent, with the film’s visceral displays of exploitations aiming to comment upon the wider discourse of immortality and pain.
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(from left) Dracula (Nicolas Cage) and Renfield (Nicholas Hoult) in Renfield, directed by Chris McKay.
Evil Dead Rise (Directed by Lee Cronin) Release date: 21st April
2023 is hitting off with a “groovy” start as the fifth entry into the Evil Dead franchise will be hitting the big screen in just a couple of months. Rumours of a sequel to Fede Álvarez Evil Dead (2013) and promises of Sam Raimi writing a separate feature into the franchise have been stirring for years, with fans eagerly waiting for the return of Necronomicon antics. Just as all hope was disparaged Lee Cronin (director of The Hole in the Ground [2019]) was announced as the filmmaker of this new and very much unique instalment. Instead of following the usual cabin setting, Cronin takes us on a metropolis ride of demonic hell as the film documents possession, mommy issues, and plenty of manic gore all within the confines of Los Angeles.
M3GAN (Directed by Gerard Johnstone) Release date: 13th January
Chucky and Annabelle are in the company of a new ‘friend till the end’ as Gerard Johnstone and Jason Blum welcome M3GAN. The news of the latest possessed doll feature may not have had the warmest welcomes at first due to the continuous spur of toy-gone-wrong horrors entering the scene. However, upon the trailer’s release, the internet took M3GAN under its wing. And before the film had even been released, M3GAN was a viral sensation. The film follows Gemma (Allison Williams), a tech designer struggling to come to terms with unexpected guardianship, and the deadly quirks that come with designing an evil, sinisterly-lifelike A.I. doll.
There’s Something Wrong with the Children (Directed by Roxanne Benjamin) Release date: 17th January
There’s Something Wrong with the Children comes from the mind of Roxanne Benjamin, who is most notable for directing segments in Southbound (2015) and XX (2017). The hauntingly titled film tackles a children-gone-mad storyline after a family weekend trip results in supernatural happenings.
Scream 6 (Directed by Matt Bettinelli-Olpin & Tyler Gillett) Release date: 10th March
Ghostface is a certified horror household name, with every Scream feature becoming an instant classic amongst audiences. Adding to the beloved franchise is Matt Bettinelli-Olpin and Tyler Gillett’s follow-up to last year’s Scream. Very few details have been released regarding what, who, and when Ghostface is on the hunt for despite the March release date. What we do know is that Woodsboro is seemingly no more, as the latest survivors Sam (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy Brown) and Chad (Mason Goodling) head to New York City to escape the trauma from Ghostface’s slayings. Returning to the franchise is everyone’s favourite reporter Gale Weathers (Courteney Cox) and Scream 4 legend Kirby (Hayden Panettiere).
Cuckoo (Directed by Tilman Singer) Release date: TBC
Luz (2018) director Tilman Singer is set to deliver a seemingly bloody, tense tale as press images reveal Euphoria’s Hunter Schafer bandaged and bruised, hiding from a blurred but nevertheless eerie figure in what appears to be a library. Despite the little information and closed details, what we do know is that the baseline plot follows a 17-year-old girl, forced to relocate to a strange resort where everything is not what it seems.
Knock at the Cabin (Directed by M. Night Shyamalan) Release date: 3rd February
Based on the novel The Cabin at the End of the World (2018) is Knock at the Cabin. M. Night Shyamalan knows how to put on a display of cryptic dread that aims to take the unpredictable road for the entire film, with The Sixth Sense (1999) and The Visit (2015) both absconding into the unknown. The impressive cast for this apocalyptic-based horror is Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bord, Abby Quinn, and Rupert Grin. The film’s events revolve around a family being taken hostage by a crew of armed strangers, demanding that they have to make an impossible choice in order to save the world.
Renfield (Directed by Chris McKay) Release date: 14th April
One of this year’s more unexpected entries is Renfield, an original and slightly more irreverent take on a Dracula tale. Nicholas Hoult is Renfield, the footman to Count Dracula (Nicolas Cage). After an eternity of tiring work, Renfield ventures beyond the vampiric layer to see what lies beyond. However, the path to freedom is not as easy as one would expect. Based on the promotional material, this upcoming bloodsucking feat promises the perfect vampy mix of off-kilter humour and savage frights
Saw X (Directed by Kevin Greutert) Release date: 27th October
Ever since 2004, Saw has not left the margins of popular horror cinema. Whether it’s the ruthless kills that don’t hold back or the puzzling enigmas that come with every film, Saw has it all. Adding to the long line of blood-soaked terror is Saw X, the latest addition directed by Kevin Greutert. With a fairly long wait, until its release, details are kept sorely tight, but Jigsaw’s upcoming antics are in good hands with Greutert previously editing The Strangers (2008) and The Collection (2012).
Missing (Directed by Nick Johnson and Will Merrick) Release date: 20th January
Just as found footage horror captured audience’s attention and dominated the market years ago, its sister strain- desktop horror- has been similarly latching its hooks into digitalised-centric cinema. From the team of Searching (2019?) comes Missing, a cryptic thriller following a struggling daughter (Storm Reid) as she searches for her missing mother (Nia Long).
Infinity pool (Directed by Brandon Cronenberg) Release date: 27th January
It would be unfair to comment on Brandon Cronenberg’s talent as being only connected to his father (legendary David Cronenberg), as Brandon has proved with Antiviral (2012) and Possessor (2020) that he is very much his own auteur. Infinity Pool brings about the talents of Mia Goth, Cleopatra Coleman, and Alexander Skarsgård in this sci-fi tale.
Skinamarink (Directed by Kyle Edward Ball) Release date: 13th January
Skinamarink is living proof that independent, micro-budget features can stand up against the blockbusters with Kyle Edward Ball’s upcoming exploration into hellish descents bringing about immense amounts of hype. To gather research for the plot, Ball asked on his Youtube channel (Bitesized Nightmares) about people’s worst nightmares, creating an eerily relatable horror that aims to get right under the viewer’s skin.
MaXXXine (Directed by TI West) Release date: 18th March
MaXXXine is the final (for now) entry into the X trilogy, directed by TI West. Unlike its predecessor Pearl (2022), MaXXXine will not go back in time but instead forward, with the film’s events following directly on from the finale of X (2022). The precise plot details are yet to be revealed, but West has given a brief hint– MaXXXine will follow Mia Goth’s savage on-screen persona Maxine as she goes on to pursue a career in Hollywood following on from the massacre in the first film.
Alone at Night (Directed by Jimmy Giannopoulos) Release date: 20th January
Alone at Night is set to take viewers by storm as this full-throttle story follows Vicky (Ashley Benson), a cam model who undergoes a battle of survival when a masked killer hunts her down. Alone at Night brings about the talents of Pamela Anderson, Luis Guzmán, Paris Hilton, Winnie Harlow, Sky Ferreria, and G-Eazy to deliver a vivid, neon-lit, slasher.
V/H/S 85 (Directed by Miscellaneous) Release date: TBC
The latest V/H/S film is set all around many horror fans’ favourite movie decade, the 1980s. This retro throwback will feature several segments from epic filmmakers including David Bruckner, Scott Derrickson, Gigi Saul Guerrero, Natasha Kermani and Mike P. Nelson.
Humane (Directed by Caitlin Cronenberg) Release date: Post-production
The Cronenberg’s are having a great time at the movies this year as Caitlin Cronenberg brings Humane into the mix of thrilling horrors this year. Humane chronicles an apocalyptic-Esque storyline chronicling a family dinner party gone wrong after a new governmental euthanasia system goes array.
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