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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“Somebody in this camp ain’t what he appears to be” says MacReady (Kurt Russell) as he and his fellow researchers stuck out in the desolate Antarctica squabble over a shape-shifting parasite that takes no prisoners in the quest for power. Rose-tinted glasses are a great shield, but deep down the seedy underbelly will eventually swell, and before you know it, complete hell on earth will be released. The Thing revitalizes that sense of fear over unknown territory that lies beneath every individual to devise one of cinema’s greatest hits.
When it comes to such a classic, it’s assumed that the road to success was an easy sail, yet, whilst John Carpenter’s terrifying alien feature is a flawless rendition of sci-fi extremes, the production was filled with bumps and jolts. A string of everybody’s favourite filmmakers including Tobe Hooper (joined by writing partner Kim Henkel) and John Landis were all invited to recreate the novella Who Goes There? (1938), which had already been adapted in Christian Nyby’s The Thing from Another World (1951). The arrangements for production were made, but something was missing, that special touch, however, when Carpenter and scriptwriter Bill Lancaster put pen to paper and opted for a touchingly dark and menacingly brutal narrative arc, the cameras began rolling and the rest is history.
It’s no surprise to anyone that the 1980s were a whirlwind of a time for horror, flocks of people were either greedy for the startling nature that horror had to offer, whereas others were actively campaigning for the ‘nasties’ to be axed, done, and dusted. Needless to say, the appetite for The Thing was more than turbulent. And since the mainstream media (which at the time controlled the marketing and awareness of new releases) were not eager to sing Carpenter’s praises, The Thing stayed in the dark for many years.
The production was no walk in the park either. The twelve weeks of filming in the harsh Alaskan grounds with plenty of mishaps, including camera lenses freezing due to the cold, and actor Keith David breaking his hand the day before filming.
To follow on from the turbulent events that came across during production was the unfortunate reputation that clung onto the film thanks to the rocky reputation expressed by unfair reviews and a damning case of word-by-mouth. As soon as The Thing hit theatres the feedback from major outlets including Roger Ebert, Variety, The New York Times, and The Washington Post all obliterated the fine craftsmanship that had gone into making this genre defining classic. The bleak tableau of cynical mindsets and the void of formulaic arcs left a stain on those who were lucky enough to see it in cinemas upon its initial release. Ironically, for a time that would publicly blast horror for not being original and more like a gory slapstick, The Thing’s devotion to marrying intense character dynamics with an analogy-ridden path was simply ‘too much’. From a retrospective point of view, the only thing that was excessive about the film is how much it has to offer; whether it’s the masterful practical effects or the haunting atmosphere, The Thing aims to be *thee* ultimate spectacle.
The basis for The Thing surrounds an American research station in the faraway and foreign land of Antarctica where snow takes up every ounce of space, and where permanent habitation ceases to exist. The immediate vastness is a daunting facet alone, furthering the velocity of events the team eventually endures. With the aid of an anamorphic lens, the idea of an airy vacant setting is forced upon the viewer, with the stretched, wide frame providing ample space for action to be seen, also subtly showing ‘too much’ bare room around the characters, almost insinuating that there is bound to be someone or something imminently creeping into the frame all of a sudden.
This premise of suggestion is a theme that runs throughout The Thing’s veins, with uncertainty, precariousness, and ample amounts of delusion infecting the entire course of reason amongst the characters. Tiptoeing alongside the effectiveness of the atmosphere is the deliberately conspicuous and savage research team including the unpolished helicopter pilot MacReady (Russell), Childs (David) the in-house skeptic mechanic, Blair (A. Wilford Brimely) the paranoid biologist, and Nauls (T. K. Carter) the quick-thinking cook. In what can best be described as a motley crew of personalities is a variety of identities that outwardly play out as clashing souls whose inner dynamics pave the way for disaster to strike, however, internally a much more complex picture is being painted than what meets the eye.
Each character is assigned a general emotion that protrudes further than any other feeling, the characters are simply puppets in Carpenter and Lancaster’s plot to manipulate the viewer into a state of complete shock and fear over the unfolding narrative. The Thing invites the viewer to go on an emotional rollercoaster, with MacReady’s brash feistiness embodying our fight or flight response, Child’s uncertainty and mistrust representing the hastiness that we feel over every new spectacle, Blair’s irrationality epitomizing the panic experienced as we also learn of the parasite’s ferocity, and Naul’s curiosity sparking our need to unravel the origins and motives of the assimilation.
The Thing plays out with an air of fluidity that seems so natural, and whilst that was the goal, behind the scenes Carpenter meticulously plotted out every little detail to enhance the horror and ultimately conjure a trance-like spell over anyone brave enough to watch it.
Above everything, one aspect that will forever remain synonymous with The Thing’s cult classic reputation is the outstanding effects. Considering the entire premise surrounds a creature feature show, the design of the monster itself was of utmost importance to Rob Bottin, the lead effects creator. Originally, Carpenter wanted “the thing” to be of one design, a whole being, not a shapeshifting leech. In fact, when Bottin initially expressed his ideas of the various forms the monster would take, Carpenter was more than unsure about going down that valiant route. However, the surreal design soon won him over and the thirty five person team went to work in creating one of cinema’s most infamous creatures of all time.
The 1980s didn’t have mountains of technology to aid in the graphics, instead handy work and dedicated creative geniuses would spend hours moulding full body casts of actors and glueing together faux flesh to fashion severed bloody limbs. One of the most impressive scenes shows the crew’s dog assimilating into a gigantic extraterrestrial being complete with multiple snarling dog heads crowning the top of a bubbling pile of viscera filled with mutating blobs and more than enough blood and slime. To form such a grotesque but fascinating effect, Bottin enlisted the help of fellow effects artist Stan Winston to construct a large hand puppet from makeup artist Lance Anderson’s body. The puppet would then be layered with latex foam and hooked up to wired legs and radio controlled eyes to force the alien-like movements expressed by the thing. Even the mass pile sat below the creature was given its texture from mayonnaise, melted bubble gum and plenty of K-Y Jelly.
In true old-school fashion, no CGI blood spurts were to be had, instead, Anderson would have to wear a blood-squib suit which would eject plenty of fake blood on cue.
Blood, sweat, and tears went into concocting the visual feast that The Thing has to offer, with Bottin being hospitalised from exhaustion over literally working for nearly 24 hours everyday just to achieve the perfect aesthetic for the film.
Upon a modern perspective, the bumpy road The Thing traveled down for its first couple of the years wasn’t down to poor filmmaking or lack of inspiration, the sole reason was that viewers were just not ready for something so monumentally confrontational, a product that dares to end on a gloomy note and not succumb to the Hollywood flow of moviemaking. The legacy of The Thing is still felt to this day, forty years on. Comic books, video games, miniseries, and prequels have all come and gone within the last twenty years, with Blumhouse Studios even releasing a statement in 2020 confirming that The Thing is getting the now-standard remake treatment.
In a landscape where seemingly everyone’s true colours can be exposed and evil is more free than ever, John Carpenter’s 1982 showstopper is more important now than ever.
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Creepshow is a highly regarded classic that hasn’t once been pushed aside in either popularity or cultural significance even after an entire 40 years. This timeless gem was created by two of horror’s most devilish minds, Stephen King and George A. Romero, with legendary effects artist Tom Savini also joining the macabre team. What inevitably works so well within Creepshow is the anthology method of filmmaking which allows for plenty of short films to unfold, all encompassed by an overarching story, which in Creepshow’s case regards a young boy, Billy (Played by King’s son Joe Hill) who is scalded by his domineering father for reading a horror comic, leading to the comic book’s host ‘The Creep’ coming to life and showing Billy what true horrors lie ahead. Over the years, Creepshow has inspired multiple sequels and a TV series on Shudder following the same anthology format.
The Thing (Directed by John Carpenter, 1982)
John Carpenter needs no introduction, with staples such as Halloween (1978),The Fog (1980), and Christine (1983) all residing in his densely rich filmography. However, one of the most important and groundbreaking entries to come from his work (and the 1980s in general) is The Thing, a body horror spectacular that shows off a plethora of fascinating practical effects like it’s participating in a gory pageant show. Quite surprisingly, upon its initial release the film was rather bashed by seemingly everyone, apparently it was too ‘nihilistic’ for audiences. However, just as Carpenter says himself, the film was incredible, but the cinematic territory of the time was just not prepared for something so intense, unpredictable, and electrifying. The film would purposefully take its time in setting up a cushty relationship with the characters and divulging into the backstory, only to disrupt any sense of harmony in the most shocking and gnarly way possible. As The Thing turns 40, it’s more important than ever to look back on how the land of film has changed overtime and how previously thrashed horrors have come back with a bigger bite than ever before.
Poltergeist (Directed by Tobe Hooper, 1982)
“They’re here”… That famous quote that terrified audiences for years still rings as eerie today, 40 years on. And whilst ghost movies have gone through leaps and bounds since then, Tobe Hooper and Steven Spielberg’s sensational collab is just as gripping and action-packed as it was when it was first released. Poltergeist transformed the ghost story from being one set in a grand manor occupied by Victorian spirits to one that shows an unstoppable force that fashions itself to suit its victims fears. Hooper takes his time is dissecting all of the madness and mayhem, leaving no horrific stone unturned.
Candyman (Directed by Bernard Rose, 1992)
Based on Clive Barker’s short story The Forbidden (1984) is Candyman, a legendary take on injustice through the lense of a meticulously startling premise. The entire idea that a creature from the great unknown will appear before you upon muttering their name is not an alien concept within filmmaking, urban legends such as the ‘Bloody Mary’ hoax all stir that urge to connect with something beyond reality; through Candyman implicating that this barrier can be broken in the comfort of familiar surroundings makes the boogeyman lore even more terrifying. But, rather than the film focusing too much on the above gimmicks, a tale of retribution and moral corruption is additionally explored, creating a narrative that stands the test of time.
Army of Darkness (Directed by Sam Raimi, 1992)
When Army of Darkness is reminisced upon 30 years after its release it’s easy to see it as a simple irreverent ride that has no trouble in standing out. And whilst part of that sentiment is true, this third entry in TheEvil Dead franchise also served as a stepping stone in creating the action horror hero, as well as cementing the franchises reputation of managing to deliver the rare combination of gory frights and absurd comedy all at once. As the years have progressed, Army of Darkness is largely responsible for all of the expanded works to come from The Evil Dead, including a span of successful comic books, a video game focusing solely on the Army of Darkness events, and a TV series titled Ash vs Evil Dead.
28 Days Later (Directed by Danny Boyle, 2002)
Zombies have enough potent power to knock spiny tingling fear into even the most ‘nerves of steel’ viewers, with their rotting skin, appetite for brains, and expressionless persona making for the perfect creature feature. The undead are visceral enough on their own, but when these attributes are combined with supersonic speed and senseless rage a recipe for gory success is created. Danny Boyle’s 2002 zombie extravaganza 28 Days Later brought the weakened, overdone genre back to life in what can be described as a chaotically violent and nail-biting display of how horror can both provoke a pure visceral reaction whilst also leaning in on the social disposition zombies originate from. The film expertly weaves in the common notion of morbid curiosity, and how the downfall of society is due to humanity, not some act of god. 28 Days Later is grounded in realism, making it beyond terrifying and a fright to remember.
Dog Soldiers (Directed by Neil Marshall, 2002)
Neil Marshall has become a horror extraordinaire with his features Dog Soldiers and The Descent (2005) creating an acclaimed ridden tidal wave amongst critics and viewers alike. And whilst The Descent reigns champion on nearly every genre list, it’s important to remember where Marshall’s journey began. Like all ghouls and goblins, werewolves have a long running history in the genre, with films such as The Howling (1981) and Ginger Snaps (2000) focusing on the bestial connection within the body, but rather than Dog Soliders placing the horror in second place to favour a story dripped in empathy towards the beast, Marshall emphasises the sheer fear and teeth-chattering terror that werewolf’s exude. Dog Soldiers quintessential Britishness, including plenty of dark off-kilter humour, combined with Marshall’s talent for grounding the dread in such a brutal way ensures that this lycanthrope masterpiece will remain of utmost cinematic importance for many years to come.
The Ring (Gore Verbinski, 2002)
Hideo Nakata’s Ringu (1998) perfectly displayed the early 2000s underlying fear of technology taking over through the guise of an Onryō ghost origin story. And whilst remakes receive a rocky reputation, Gore Verbinski’s retelling of Japan’s number one horror film was both a financial triumph and a kickstarter in the J-horror era of cinema. Summoning a beyond bleak atmosphere that surveys heavy melodramatics and themes of guilt and hopelessness is the film’s attention demanding cold palette that acts like a spell, positioning the viewer to unearth their own feelings of loss and doom. Above everything, what allows The Ring to be held as such a highly regarded 2000s horror is Verbinski’s dedication to retelling Ringu under his own unique interpretation without butchering or over-westernising the original’s motives.
Sinister (Directed by Scott Derrickson, 2012)
Scott Derrickson is hot off the press at the minute with his latest feature The Black Phone (2021) receiving endless deserving praise. However, let’s not forget his 2012 showstopper that has been named as one of the scariest films according to a 2020 study. Sinister wielded intensely disturbing imagery found within the reels of super 8 footage, alongside the hauntingly memorable character design of Bughuul (Nick King), the resident boogeyman for the film. Across the horrific journey that Derrickson takes the audience on is a keen sense of deliberate misdirection, where the origins of Bughuul and the third act’s fate remains very much in the dark until the very last minute, ensuring that plenty of hair raising tension is to be had.
The Cabin in the Woods (Directed by Drew Goddard, 2012)
Although it seems like yesterday when the movie scene was all about the latest meta-horror The Cabin in the Woods, it actually turns out that it has been a whole decade since this self-referential puzzle was released. The feast of raunchy humour, throwbacks to beloved classics, and overarching sense of pandemonium over the whole ‘world is ending’ commotion results in a film that is so complexly winded that it’s hard to not want to congratulate Drew Goddard for managing to put on such a circus so flawlessly. Amidst all the dynamic effects and scenes is the film’s way of throwing in something for everyone, whether it’s gigantic arachnids, zombie rednecks, or a merman, The Cabin in the Woods has it all!
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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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1. Shaun of the Dead (Directed by Edgar Wright (2004)
The lives of aimless salesman Shaun (Simon Pegg) and his do-nothing roommate Ed (Nick Frost) are turned upside down when a zombie apocalypse hits the streets of London.
Burrowing itself as one of Britain’s most iconic films is Edgar Wright’s Shaun of the Dead, a gory zombie mashup with a classic sentiment and enough one-liners to get even stone-faced viewers a right belly laugh. The world Wright establishes from the get go is dull and monotonous, giving Shaun and Ed’s habits a paint-by-numbers feel. Even after the first zombie appearance nothing much changes, they ‘keep mum’ about the severity of the literal apocalypse. Although the humour thrives in the humdrum moments, what keeps the script fresh is the continuous trajectories that Wright throws in the mix.
The original strategy for Shaun’s zombie action plan is to go to his mum’s (Penelope Wilton), kill his snobby step-father (Bill Nighy), grab his disgruntled girlfriend Liz (Kate Ashfield), then “go to The Winchester, have a nice cold pint, and wait for all of this to blow over”- if that doesn’t ring true to the good ole’ British spirit then I don’t know what does! Overtime Shaun of the Dead has done nothing but continue to defy everyone’s expectations for both British cinema and horror, with the film even featuring in the likes of Stephen King and Quentin Tarantino’s top film’s lists, and that’s not to mention the fact that the Zombie Godfather himself George A. Romero was so impressed that he gave Wright and Pegg a cameo role in Land of the Dead (2005).
2.The Wicker Man (Directed by Robin Hardy, 1973)
Sergeant Howie (Edward Woodward) lands on the grounds of Summerisle, a small Scottish island, to investigate the disappearance of a child. Howie’s puritan ways are tested after being shocked at the Islander’s worship of pagan Celtic gods and behaving in an open frivolous manner, leading Howie to suspect that something suspicious lurks around the corner.
British folk horror has seeded its way through the roots of classic cinema with the assistance from The Unholy Trinity- Witchfinder General (1968), Blood on Satan’s Claw (1971), and The Wicker Man (1973) with the latter being a distinctly respected piece of British cinema. In the early 1970s, writer Anthony Shaffer read the novel Ritual (David Pinner), detailing the events of a Christian police officer investigating a supposed ritualistic murder in a small village. Shaffer and Robin Hardy decided to use the novel as a source to create a horror focused upon old religion to contrast against the flow of Hammer horrors being released; lead Christopher Lee was also keen on breaking away from his archetypal Hammer roles.
Over the production course, it was decided that the film would stay away from graphic violence and gore as a focus on visceral material was not the method they wanted to adopt as their fear provoker. Hardy wanted a slow burning sense of doom to gradually unveil itself within the viewer, bubbling up an atmosphere of complete dread where we know that something terrible is going to happen, but are unaware of the when and where’s. And that’s precisely what was achieved. The Wicker Man has an earthy quality, one whose quiet tension is sown from the first scene, brewing a disconcerting air of trepidation and awe over the alarming exposition and dark landscapes.
3. Eden Lake (Directed by James Watkins, 2008)
School teacher Jenny (Kelly Reilly), and her boyfriend Steve (Michael Fassbender), take a trip to a remote lake in the English countryside to spend a romantic weekend together. However, a group of delinquent teens takes their chaos a step too far, resulting in a bloody fight for survival.
Eden Lake is a rough and gritty story that uses contemporary moral panics against a muddy backdrop to expel a level of savageness that rings back to classics such as Straw Dogs (1971) and Deliverance (1972). James Watkins works at a fast pace to immediately portray Jenny and Steve to be wholesome and soppy, far from the violent criminals they’ll be running from. Whilst the plot is being thickened we are lulled into siding with the couple. During this Watkin subtly plants in elements that foreshadow their fates. For example, instead of enjoying a chill evening in a beer garden, they are surrounded by screaming kids who are way up past their bedtime, followed by angered parents slapping the littluns. It may not be much, but from the getgo, a divide is created.
During the mid to late 2000s, every news channel and paper would have a feature on rising violence amongst adolescents, raising the alarm over the knife crime epidemic, but rather than give admittance over how these problems are created due to social and generational issues, the blame would be placed on ‘hoodies’ and grime music. Filmmakers such as Watkins employ the worries of Broken Britain to create a film that makes you feel morally conflicted and worrisome. Collaborating with the commentary is the film’s genuinely frightful nature. The woods have birthed an incredible setup for horror to thrive, with the dark trees casting haunting shadows and exuding a sense of isolation. Eden Lake tactically positions us alongside Jenny and Steve in the hardened wilderness, knowing that like them we are all alone amongst the terror.
4. 28 Days Later (Directed by Danny Boyle, 2002)
Cillian Murphy in “28 Days Later” (Photo by Sundance/WireImage)
A team of animal rights activists clumsily free a chimpanzee infected with the Rage virus which causes its host to go into a zombified uncontrollable rage. Four weeks later, Jim (Cillian Murphy) awakes from a coma, not knowing that civilization has come to an end. Whilst hastily discovering what’s happened he runs into a group of survivors and travels with them to a supposed safe haven.
The scene is the early 2000s, slow brooding zombies have held the spotlight for long enough, it’s time for rapid, furious, rabid zombies to rule the platform. By nature zombies are abject, their entire basis repulses, what with their drooling mouths and mangled decaying skin. When combined with the fact that the infected can climb and race, a terrifying recipe for fear is created. Danny Boyle knows how to alert our darkest anxieties, and 28 Days Later rivets and rolls to sharply hone in on that white-knuckle terror from the very first scene.
The setting avails use of the desolate grounds of the skeletal London town and dispiriting countryside as a terror provoking instrument that contrasts against the quick-paced camerawork and of course the zooming undead themselves. Adding to the intense pandemonium created in 28 Days Later is the panic-inducing score composed by John Murphy. The soundtrack continuously blasts synthesised electric drones that faintly mimic the air raid signals which would have gone off within those 28 days of the apocalypse. All of these elements, from the widescaped cinematography and booming score, to the heated performances and crazed zombies all meld together to create an unmissable showstopper.
5. The Devils (Directed by Ken Russell, 1971)
In 17th-century France, Father Grandier (Oliver Reed) attempts to protect the city of Loudun from the corruption-fueled establishment run by Cardinal Richelieu (Christopher Logue).
Ken Russell was a known agitator of the BBFC, igniting feuds amongst movie-goers over the graphic content of many of his films, and The Devils really take the honours for being not only one of his most controversial films but also a conqueror in 1970s banned British cinema. A large part of the contention resides with the themes of promiscuity painted upon a religious foreground, highlighting hierarchical abuse structures within worship and Rusell’s conscious wielding of distasteful, excess debaucheries. The Devils lewd principles take centre stage and become entirely inescapable, luckily enough the horror aspects are not covered up by the excess vulgarity. Plague-infested bodies being dumped into a limb pit, self-mutilation, and maggots sliming out of skull sockets are just some of the ghastly imagery that audiences are subjected to, thrusting the film into a dark territory that drives out a panicked and tense reaction.
6. Dog Soldiers (Directed by Neil Marshall, 2002)
A small squad of soldiers attend a mission in the Scottish highlands against a Special Air Service unit. Morning comes and they come across the unit’s sprawled apart remains, pushing the conclusion that someone or more like something is after them.
Neil Marshall forgoes a cosmopolitan setting and characters in favour of occupying the screen with rural land and pragmatic characters that waft an essence of realist brutalism throughout a fantastical storyline. Furthering the tough as nails exhibition is the apt lack of dramatics surrounding the werewolf’s existence. Marshall has stated that the werewolves purposefully do not have a lore background or curse-infused reasoning for their being.
The werewolves’ tall, gangly stature is enough to be absolutely nerve-wracking, especially when they bare their protruding fangs ready to sink into their prey’s unlucky flesh. The maximization of terror actually comes from an unexpected place, the humorous dialogue. Witty quips such as “We are now up against live, hostile targets. So, if Little Red Riding Hood should show up with a bazooka and a bad attitude, I expect you to chin the bitch” have the audience cracking up, but rather than linger in the comedy Marshall exploits the fact that our guard is down and uses the settled mood to throw in unexpected lashes of gore and frights, shaking the expectations of the audience. Dog Soldiers both mopped the floor with many creature features and created the blueprints for many werewolf films to come.
7. Kill List (Directed by Ben Wheatley, 2011)
Jay (Neil Maskell) and Gal (Michael Smiley) served together in the forces, creating a strong bond. Eight months have passed since they left an unspecified disastrous assignment, leaving Jay mentally scarred, making him unable to work. After an argument between Jay and his wife Shel (MyAnna Buring) over money worries he joins Gal in a contracted job to kill a list of people.
Ben Wheatley over the years has created some true standout British horror’s including Sightseers (2012) and A Field in England (2013), and most recently In the Earth (2021). Kill List unveils Wheatley’s naturalistic filmmaking methods in a remarkably raw manner that inflames a deep level of disturbance amongst the viewer, guaranteeing a hold over them for long after watching. Joining his fervent displays of provocation are the award worthy performances from Michael Smiley, MyAnna Buring, and Neil Maskell who all bring such ferocity and realness to their characters that it’s nearly impossible to tell that they’re actors and not the actual people they are portraying.
Kill List somehow goes both full throttle and gentle within its storytelling, with the subtle elements of something darker lurking amidst the surface, whilst also pushing frenzied chaos into the frame. This perplexing balance is even more advanced by the unpredictability of Jay and Gal’s actions, pronouncing the ambiguous nature of events and the slight art-house style that Wheatley adopts.
8. Prevenge (Directed by Alice Lowe, 2016)
Pregnant widow Ruth (Alice Lowe) loses her partner in an unfortunate climbing accident, leaving her alone. Shortly after, she begins to hear her baby talking, convincing Ruth to exact revenge on anyone involved in his death.
Alice Lowe’s directorial debut is an absolute shocker of a film. Prevenge is literal proof that budget constraints and the brackets of independent cinema are not blockades in creating a potent piece as Lowe hatches an audaciously somber and fruitfully macabre vision of a woman unhinged. There is not a single moment where we don’t align with Ruth. We have to listen to her and follow her every step, encouraging us to see the world through her damned perspective.
This creates an off-kilter atmosphere that fashions a normal-looking world, but with a surreal and untrustworthy ambiance, similar to British TV shows such as Green Wing and The IT Crowd. Prevenge is entirely impressive as it is, but what pushes the film’s intrinsic likeability even further into the atmosphere is the personable energy that the film emits. Lowe wrote, directed, and stars in this one-woman show, all whilst she was actually pregnant in real life. The level of dedication and the film’s success has to be owed entirely to her.
9. The Ritual (Directed by David Bruckner, 2017)
A tragedy strikes in a group of friends, leaving the bond disabonded. To rekindle their friendship the four of them set out on a hike through the rural Scandinavian wilderness, however, when a wrong turn ends them into ominous land, they must fight for survival.
The Ritual remains efficient, rich, and menacing– heeding onto the complexities of trauma and the threat of expelling one’s grief inwards, rather than seeking the comfort of shared loss. Boasting The Ritual’s emotional rhythm is David Bruckner’s ability to take elements of the source material (Adam Nevill’s 2011 novel of the same name) and manifest a story that alludes to Nevill’s rural atmospheric strengths, but with a surreal edge that transcends the barriers between the mind and the psychical body.
Due to this constant escalation of illusory texturization, the viewer can never decipher what the fates of the four will be. Immediately, when an isolated forest setting is disclosed an air of the ‘other’ forebodes the script, with many recalling the likes of The Blair Witch Project (1999) or The VVitch (2015) as an archetypal framework for The Ritual to base itself around. However, Bruckner dismisses the urge to be predictable or imitate previous works, opting for unfamiliar occurrences that have you questioning whether the sinister happenings are held within the fragile group’s mind or if something very real and very evil is actually at play.
10. Hellraiser ( Directed by Clive Barker, 1987)
Frank Cotton (Sean Chapman) opens a portal to hell after solving a puzzle box, unleashing sadomasochistic beings called Cenobites, led by their leader Pinhead (Doug Bradley) who tears Frank’s body to shreds. Frank’s brother Larry (Andrew Robinson) and his wife Julia (Clare Higgins) have a strained relationship, which led to Julia having a secret affair with Frank before his death. To rekindle their estranged relationship the pair move into Frank’s old house, where a skinless Frank is accidentally resurrected, who convinces Julia to lure men back to the house for him to drain.
Director Clive Barker originally was a writer, having written the screenplays for Underworld (1985) and Rawhead Rex (1986), however, he was rather unhappy with the final execution of his developed work, leading him to direct the film adaptation of his novella The Hellbound Heart (1986). Immediately, Barker knew that he wanted to create a piece dosed in creative eccentricity and a horror betrothed to the atmosphere and cutting edge originality. Considering the fact that the film developed into an entire franchise, it’s assured that Barker’s goal of a successful adaptation was achieved.
Hellraiser’s moral compass is enriched with a dreamlike quality, resulting in dark sequences of death and destruction, and whilst the overall effect is beyond alluring, the primary source of the film’s seduction is due to the cruel unearthly creatures donning sharp exteriors and bondage-like clothing. The genealogy of the Cenobites has been diagnosed as ‘religious based’, with them deriving from a religious sect in the underworld known as the ‘Order of the Gash’ where their evolution has made them unable to differentiate pleasure and pain. Pinhead and his followers’ existence transport the film into a higher level of transgressiveness, allowing for the viewer to become blinded and lost within the utter absurd nature of Barker’s vision.
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A nightmarish videotape has begun making the rounds, leading to the unlucky viewer’s receiving a mysterious phone call warning them that they will die in seven days. After investigative journalist Rachel Keller (Naomi Watts) learns that her niece and several other teenagers die mysteriously after watching the video, she attempts to track down who made it and why. The investigation soon takes a sinister turn after her son Aiden (David Dorfman) watches the tape, causing her to contact her ex-husband Noah (Martin Henderson) to help her untangle this curse once and for all.
Upon discovering the dark secrets that the tape beholds, it is learnt that thecontent is not the cause of a typical urban legend, but instead a treacherous story about a young girl named Samara (Daveigh Chase) and her vengeful spirit.
Hideo Nakata’s 1998 horror sensation Ringu could be defined as an ubiquitous feat of fragile relationships, infestation of the home, and anxieties over the ever booming spec of technology. All of the above radiate nothing but the truth, yet to condense Ringu’s spine-tingling allegories to mere themes and societal reflections is simply reducing how evoking the film is on an affective level. Even those with nerves of steel will inevitably feel an eerie whisper of fear whilst viewing the film’s terrifying climax, which will not leave your thoughts until long after watching. With any groundbreaking media, there will be those who want to see it go further, to push the interest and increase profits. The most prolific case to date of Japanese horror being remade is Gore Verbinski’s The Ring (2002) which will celebrate its twentieth birthday this year.
Whilst the remake at hand would not win in an original vs remake battle, what The Ring does deserve praise in is its capacity to attract viewers to the genre, influence a string of filmmakers, and allow international cinema to flood the market, enriching horror cinema for the better.
The crash that 1990s horror saw was retrospectively quite damning. Besides a few standout films such as Scream (1996), the market was overwhelmingly flooded with uninspiring films, that was until the early 2000s came and a whole new tidal wave of creativity rushed in. The shift that the millennium film market saw was largely helmed by Verbinski. His previous credits at the time were scarce, hence the reason why he was not the producer’s first choice. Luckily enough David Lynch turned down the offer to direct The Ring, clearing up that spot for some new raw talent. From the very first point, it was made clear that The Ring would not be a grand guignol display of bleeding wounds and tedious jump scares. In contrast, the result is a brooding voyage that meshes both a sense of linear passiveness, akin to a false sense of stillness and a fantastical descent, rife with tangled backstories that pivot the film into unique supernatural territory.
Catalyzing the film’s premise is the infamous cursed tape that is making the deadly rounds. Verbinski folds in layers of symbolism through using smouldering surreality that can come across as slightly ‘film-school-y’, what with all the grainy footage, melding together a heap of Rorschach-esque imagery. Nevertheless, the presence of the tape remains to be nothing less than disturbing, particularly the scenes which mimic the now infamous experimental film Begotten (1989). Permitting shock value is not the tape’s only purpose, the texturized visual scenes of ladders, burning trees, darkened eyes, and most importantly glowing rings are inducing awareness of how Samara’s life mirrors Rachel’s own relationship with her surroundings. Through giving the tape a symbolistic consciousness a deeper meaning of explanation is adhered to.
There is a clear level of juxtaposition between divulging into elaborate character arcs, whilst remaining coherent and uncluttered. In a similar way, the anatomy of the original material and Verbinski’s re-envisioning both make the choice to expose familial-based issues, except the two filmmakers’ methods are rather oppositional. Verbinski has an archetypal take on the tape’s origins, quite bravely he’s not afraid to lean in heavy and get down to the story’s bones. Whereas Nakata conservatively creates a simple backstory of why the events were occurring. If you were to dissect the film with a fine-tooth comb there are major confusions, but it’s fairly obvious that the nonsensical mystery is purposeful. Not everything needs to be untangled, especially when it comes to horror which innately blooms through enigmas. It’s possible that this is the reason why The Ring resonates so well with many, there is no labyrinth of answers to fumble about with, the mystery is fully decoded for you.
Western produced cinema tends to heavily expose and reveal every little crumb through plenty of exposition, like a story being read out to a child. Yet, Verbinski’s fattening of Samara’s sensibility comes across as a valid attempt at painting a picture that tells a sorrow-ridden story. Rachel, Noah, and Aiden all have distant relationships with one another, causing Aiden to have an unusually sensible manner about him, allowing his parents to slightly take the backseat. Quite refreshingly, Verbinski does not suggest that Rachel should forfeit her career to create a meaningful bond with her son.
Instead, an emphasis is put on Noah who abandoned his own son, leaving Rachel to raise a child alone. Rachel’s career and access to certain technologies actually benefit her in solving the case of the cursed tape, diffusing any stereotype that a person cannot both have a family and a riveting profession. Within the subplot involving parenthood lies the true essence of the narrative. Samara’s wrath stems from the lack of humanity she endured, reflecting Aiden’s bond with his parents. He is now in danger, and it is up to Noah and Rachel to bandage together the tape’s context to save Aiden from a harrowing fate, facilitating themes of unification and regret.
Accompanying the film’s impassioned pathos is the distinct style that allows for The Ring to stand out amongst the rest.
It may be basic to revert back to colour theory. Reds and pinks are warm, thus presenting a passionate tone, with blues and green summoning a cold, bleak mood. But alas, Verbinski takes these elementary principles and maximises them to their full advantage. Nakata’s work across the board thrives in its minimalism, that placidity. In comparison American blockbusters relish in their vividness. The colour grading of The Ring defines the entire film, it can even be claimed that the final result would not be the same without it. Dull greys, murky blues, and waterlogged greens catapult the already gloomy Seattle concrete-jungle atmosphere into a horribly dark environment where horror breeds.
The Ring understands the rich history that preludes it. The film’s horror motifs all derive from fantastic 1990s Japanese cinema- the presence of an onryō, cruel technology, cityscapes, distant relationships, the delicacy of time, and an overarching emotion of loss. Presenting these tangible strands of dread through an Americanised light proved to be an exceptional profit builder and genre booster. Twenty years on, The Ring still holds an almost unattainable reputation that remakes find it hard to do- become integrated as a valuable, vital piece of cinema.
Major names such as Takashi Miike, Kiyoshi Kurosawa, Takashi Shimizu, and Kōji Shiraishi are all honourable within Japanese horror, but prior to their work that propelled J-horror, there were many older films that are under-appreciated on a mainstream level. Work’s such as Tales of Ugetsu (1953), Kwaidan (1964), and Onibaba (1964) kickstarted the trend of positioning societal matters through a supernatural lens. The underlying contemporary issues that Japanese horror explores are entirely compelling, forgoing trivial circumstances, and that is entirely thanks to the above cinema. Without these films, Ringu and the book that acts as its source material (Ring, [Koji Suzuki, 1991]), let alone the remake, would not have been the same.
The Ring acknowledges that the marketed audience expectations would result in the film needing to adapt its cultural conjectures, hence the heavy background story and subplots. In a bittersweet way the conformity to a westernised forecast resulted in the aforementioned success, but at the same time, the film triggered a string of almost insulting remakes from J-horror classics such as Ju-On: The Grudge (2002), One Missed Call (2003), Apartment 1303 (2007), Pulse (2001), and Dark Water (2002). In trying to continuously adapt culturally-rooted stories a sense of villianisation against these major studios is created. Reimagining plots that belong to Japanese folklore without recontextualizing or appreciating their origins is rather unjust. The Hollywood system is known for its ruthless, remorseless stretches, and the influx of capitalising on East Asian cinema can be viewed as questionable. I highly doubt that Verbinksi created The Ring with the premise of fashioning a recycled meaning of Japanese horror in the west, and considering that Nakata openly admires this adaptation, it’s safe to say that The Ring is actually one of the few remakes that deserve acclaim.
Despite all the doom and gloom, there is a comforting prospect to come from J-horror’s influence. As with many people old enough to watch these films, I didn’t have a smartphone growing up to research world cinema, nor were there streaming sites that worked on importing foreign language horror for people to adore. Instead, I would watch The Ring or The Grudge (2004) in hopes of experiencing a film that ventured outside of the UK or the USA, seeing a new world. It was Verbinski’s work that helped spark my interest in world cinema. As I became older and had easy access to the internet I was enthralled to learn that The Ring was in fact not an original and that I now had an epically long watchlist from films across the entire land to sink my teeth into. Luckily enough with sites such as Netflix and Youtube, potential horror fans can experience films such as Audition (1999), Visitor Q (2001), Battle Royale (2001), and Marebito (2004) with ease.
It is a tricky one to fully decode my thoughts on The Ring. Without a doubt, it is a moving film, brimming with touching connotations that work on sympathising with Samara’s motivations. But the most novel part of bringing this Japanese spirit story to life is the widely sparked interest for a section of cinema that is beyond deserving of international attention.
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Dead Northern reviews the greatly anticipated fifth instalment in the slasher film series below.
There are SPOILERS AHEAD, you have been warned!
One fateful night Tara Carpenter (Jenny Ortega) is all alone at home texting her friend Amber (Mikey Madison), convincing her to come over. But all of a sudden the landline starts ringing, at first the slightly off-kilter banterfull conversation is innocent, that is until we hear that iconic low, scratchy octave ask Tara “would you like to play a game?”. And just like that Scream is BACK!
In 2019 when filmmaking duo Matt Bettinelli-Olpin and Tyler Gillett announced that they would be taking the bull by the horns and brazenly tackling the fifth instalment in the Scream franchise, many fans were beyond thrilled that Ghostface would be continuing their rampage. The man, the myth, the legend Wes Craven who created the franchise sadly passed away in 2015, leaving behind an unbeatable legacy. Could Scream even continue without the helm of Craven? Well, let’s find out…
After twenty-five years since a string of savage murders erupted in the small town of Woodsboro, a new villain takes on the identity of Ghostface, leaving a bloody trail amongst the unlucky residents. Scream’s next generation serves a purpose. They are all connected to previous characters, including Woodsboro’s own movie expert Randy Meeks (Jamie Kennedy), Sheriff Judie Hicks (Marley Shelton), and everyone’s favourite partners in crime, Stu Macher (Matthew Lillard) and Billy Loomis (Skeet Ulrich).
The original Scream jostled with the postmodern boom that 1990s films thrived in. It’s this combination of self-referential treatment mingling with meta-cinema that facilitated the quick ironic humour that the franchise is known for. Across the previous films, every joke about sequels, franchises, fandoms, actors, and the Hollywood cycle has been done. Nothing else could possibly be added. Here’s where writers Guy Busick and James Vanderbilt regenerated the already embellished one-liners. Many of the filler characters have extensive movie knowledge, allowing for hysterical tirades about how devoted horror fans don’t want increasingly popular “requels” (reboot-sequel) to be a stand alone story with no continuing context- à la Black Christmas (2019); alternatively, franchise-enthusiasts want a connection to an original legacy. Just as Amber states “you can’t have a bonafide Halloween without Jamie Lee”.
The film exchanges with the audience directly, transfusing the fourth wall with reality. These rants about movie rules are precisely aimed at the viewer, making quips about how obsessive diehard fans are to please. Almost digging at those who’d immediately shun this new entry before even giving it a chance. Of course, many chuckles were had at the numerous easter eggs and mention of the fictional in-house ‘Stab’ movies, but the film’s strength doesn’t derive from the humour which will eventually fade after a couple of watches, instead the cardinal prizewinner is the unyielding brutality of the kills. Throughout all five films, this one takes the lead as the most shockingly savage and graphic film to date. Casey Becker (Drew Barrymore) has one of the franchise’s gnarliest deaths. Whether or not she can continue to hold the top spot is now another issue. Ghostface slices and dices their way through bodies with ease, not holding a single ounce of remorse, nor does the camera shy away from the direct insertion of their gleaming hunting knife.
As delightful as it was to see Sidney (Neve Campbell), Dewey (David Arquette), and Gale (Courteney Cox) step back into their stomping grounds, the film’s main protagonist Sam who was fantastically portrayed by the very talented Melissa Barrera was indeed a breath of fresh air. Her natural ability to be both vulnerable and fiercely strong allows her to stand beside the genre’s greatest final girls with ease. Joining Barrera is her on-screen boyfriend Richie Kirsch, played by Jack Quaid, who is the receiver of the film’s best jokes by far. Lurking alongside the stellar performances is the factor of unexpectedness. Not a single soul is safe. Scream isn’t the first and last franchise that sheds characters as and when needed, however Bettinelli-Olpin and Gillet truly don’t have a whiff of compassion at all for who gets to survive and who gets to die. The ever looming threat of death loiters over every character’s head, legacy or not…
Much praise has seen the light of day in regards to the film. Yet, there does seem to be a general critique floating around about the lack of scares. Horror is subjective, there’s no denying that. What works for one person will almost never work for the next, but within the last couple of decades, horror has evolved and changed. As controversial as it is, horror cinema does not have to make your blood run cold or have you quaking in your boots to be considered ‘good’ anymore. Scream raises the threat level and creates admirable tension, despite the fact that it didn’t have me terrified to turn the lights off. Although the 1996 original did give me the ‘heebie jeebies’, it wasn’t intended to be blood-curdling terrifying.
This instalment playfully mocks pestering film bro’s who mention the term that makes my eyes roll- “elevated horror’. When asked what her favourite scary movie is, Casey replies with John Carpenter’s infamous Halloween (1978), whereas Tara answers with The Babadook (2014), a fantastic film in its own right. But what comes next is Tara’s betrayal of the genre. She disavows typical horror as pure schlock and guts. Almost directly commenting on how elevated horrors wouldn’t stoop to the level that slashers do, opting instead for emotionally developed, politically enamoured narratives.
It is with this boldness and knowingly critical lens that Bettinelli-Olpin and Gillett shine. They know how to rinse inside genre jokes and make fun of their own attempt of recycling an already perfect classic. The Scream franchise has always managed to tiptoe between not taking itself too seriously, whilst still not becoming a total parody. Scream (22) captures this essence with ease, making it a solid and welcomed entry into horror’s most unique franchise.
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.
1- The Girl Who Knew Too Much (Directed by Mario Bava, 1963)
Nora Davis (Letícia Román), an American tourist visiting Rome is viciously mugged and knocked unconscious, upon awakening she witnesses a brutal murder. Nora reports this to the local authorities, but no one believes her. After a cryptic phone call she fears she’ll be the killer’s next victim and sets out on a frenzied mission to find the murderer.
Bava’s The Girl Who Knew Too Much is largely considered to be the first giallo film, this full-bodied tale extracts archetypal horror elements such as threat, an illusory killer, and brazen imagery. Bava furthered these already established cinematic elements through exercising an accelerating level of suspense that will be seen across future giallo cinema. The film also creates an ever rising tension through employing a stark cinematography that basks in chiaroscuro shadows and transports the viewer into a dream-like world where the visuals completely take over. It can be said that The Girl Who Knew Too Much was inspired by the master of suspense himself, Alfred Hitchcock. Films such as Psycho thrive on this mentioned mystery and the whole thrill of the ‘whodunnit’ story. Throughout the film we are taken on this journey of discovery with Nora, the viewer plays a part in her involvement with the case. Future giallo films continued to use this
aspect of witnesses aiding investigations in retaliation to their fears of being the next ‘victim’. Thus establishing the authorities to be a secondary character whose importance is noted, but never fully deserving of any credibility as the protagonist typically solves the case on their own.
As it was early days not every key essence of the sub-genre was featured in The Girl Who Knew Too Much, but what was established is the essence of what makes giallo cinema so recognisable, the element of judicial interference and stark visuals.
2- Blood and Black Lace (Directed by Mario Bava, 1964)
Model’s at a fashion house in Rome are killed off one by one by a mysterious faceless killer with metal clawed gloves.
It seems that The Girl Who Knew Too Much left a mark on Bava’s cinematic inspirations as Blood and Black Lace was made soon after his 1963 breakthrough. The film hones in on everything that defines giallo. There is not an element that isn’t ticked off from the genres checklist, with a vivacious colour palette, a covertly dressed killer (trench coat and gloves), and sensualised murder scenes. The film pushes the boundaries that were creatively established during 1960s filmmaking, such as clear plots and a linear narrative. Each scene is treated delicately, there isn’t a single moment that hasn’t been carefully curated. For example, each death is warmed with a rich, elegant lighting that dares you to carry on watching and embrace the beauty amongst harrowing images. The film is set in a fashion house, meaning that couture and chic stylisation are at the core of the mise-en-scene. Plenty of lavish silks and velvets feature in several kill scenes, prominently forcing this contrast between harm and sensuality.
At the time the implementation of eroticised gore was definitely a sight for sore eyes, little did Bava know that this would be a key factor in giallo’s progression.
3- The Bird with the Crystal Plumage (Directed by Dario Argento, 1972)
American writer Sam Dalmas (Tony Musante) witnesses a murder attempt by a black gloved assailant in an art gallery. The killer is suspected to be a serial murder who is killing young women across the entire city. As a key witness Sam must help the police in their ongoing investigation before he becomes the next victim.
Argento and giallo is a match made in heaven. There’s a reason as to why Argento is heavily tied to Italian horror, it’s his melodic combination of textured conventions and stylised symbolism that melts the barrier between horror and art. His early work of The Bird with the Crystal Plumage gets majorly overlooked within his filmography, but it is one of the richest films lurking within the entire genre. Bava may have given giallo its first lease of life, but Argento’s early work thickened one of the most important essences that would be seen in future giallo classics. This film revels in its own ludicrousness, the incoherent why’s, when’s and where’s of the murders are almost comically hazy, it wouldn’t be surprising if audiences even became irate at the films ‘big reveal’. Despite the ill-defined conclusion, it somehow works as a consequence of Argento’s fever dream bravado that takes the wheel throughout the film. The story (as does most giallo’s) works on coincidences and deceptions, moulding bizarre worlds that are supposed to take place in reality, but always seem disorienting.
4- Dont Torture a Duckling (Directed by Lucio Fulci, 1972)
Chaos erupts within a small Italian town when it becomes clear that a child killer is on the loose. A reporter and the police must band together to find the culprit before it’s too late.
Fulci within his own right is very much a key player within giallo cinema, Don’t Torture a Duckling is actually known to be an introductory film for many wanting to get into the genre.
This film aided the bleakness and alienation of society that the genre thrives upon. The picturesque village may be pleasing to the eye, but beneath the surface is a corrupt town overflowing with perversion, paranoia, threatening attitudes, and simple-minded ignorance.
Fucli dares the viewer not to applaud the braveness of the film’s themes. Sins, guilt, and repression are at the heart of the killer’s motives, which is primarily implanted through the heart of religion. This expression of sexuality within the village’s church is openly scrutinised by Fulci, in fact the town’s church is almost a central character, an antagonist. The notion of utilising religion as an ironic storytelling piece continues throughout 1970s giallo films, particularly in What Have You Done to Solange?
5- What Have You Done to Solange? (Directed by Massimo Dallamano, 1972)
Students at St. Mary’s Catholic School become the target of a sadistic serial killer. A teacher at the school becomes a suspect after his suspicious behaviour with the students arises, but the dots are not connecting, leaving the killer out on the loose.
1960s and early 1970s cinema was rife with cult sub-genres melting with each other to form hybrid films such as What Have You Done to Solange?, gaining extra profit and merging various stylisations. The film masterfully creates surreal landscapes swarming with nightmarish thrills, jolting the viewer. Dallamano’s 1972 horror combines German Krimi cinema (City settings, cop thrillers, and revenge plots) with giallo to create one of the most underrated horrors to come from the 1970s. The catholic girls school setting delights itself in crude stereotypes, particularly that of exploitation amongst women. Whilst it’s not perfect, it is rivetingly entertaining by recruiting a shamelessly sexualised narrative, consisting of vicious kill scenes that Freud would have a field day analysing. Amongst all the hurrah of utilising taboo’s as a provoking tool, Dallamano does not forget the importance of the film’s visual flare. Each scene is painted with a quaint background of mundane terrains, but the dose of gruesome terror leaves a burning mark on the viewer, forcing an unforgettable reputation.
6- Deep Red (Directed by Dario Argento, 1975)
Musician Marcus Daly (David Hemmings) discovers the body of a murdered psychic medium. Leading Marcus and reporter Gianna Brezzi (Daria Nicolodi) to take it upon themselves to solve the case.
Deep Red is known as one of Argento’s finest films, with the dizzying aesthetics, kaleidoscopic colour palettes, hazy perspectives, and impressive score securing a flourishing acclaim. Every scene creates an unfamiliar world where the tension grips onto the viewer and won’t let go, encouraging the audience to dismantle their expectations. Giallo continuously aims to startle, and Deep Red is one of the best examples for showing how and why horror is more than just quick scares and gore. Argento employs intricate camerawork that gives the result of a finely choreographed production. Rather than keep the camera still throughout the film, like a fly on the wall, Argento dances the lens around, emulating hectic and frenzied auras that make the panic of the kill scenes even more erratic and disturbing. Furthering this avoidance of stillness is the abrupt and shocking ending. Giallo may be known for its big reveals and double twists, but most of the time these revelations are so illogical and blasé that the viewer is left with more questions than answers, but Deep Red uses the infamous ‘red herring’ trope as a significant plot point in the investigation. Deep down the audience have known who the killer is all along and are told very much early on within the film. Sometimes the true horror doesn’t come from the unexpected, but what we already know.
7-Tenebrae (Directed by Dario Argento, 1982)
Successful author Peter Neal (Anthony Franciosa) receives a letter from a suspected serial killer claiming that Neal’s books have inspired them to go on a killing spree. Soon after Neal becomes involved in the investigation to catch the killer before it’s too late.
As the 1980s began giallo cinema progressed and became fairly popular amongst mainstream audiences. The unholy trinity -Argento, Bava, and Fulci- had solidified a decent name for themselves as giallo masters, and with this popularity came a shift within the genre. There was a growing demand for slashers resulting in films such as Tenebrae becoming more operatic and less confined within small Italian landscapes as an attempt at branching out. Tenebrae is a key film in both eighties horror and giallo cinema thanks to the packed narrative that manifests into a convoluted extravaganza, encouraging the viewer to become lost within the mad world created. In fact the narrative is mostly of secondary importance, the story beats serves only a progression-based purpose for the kill scenes to shine, forgoing typical cause and effect.
8- Amer (Directed by Hélène Cattet & Bruno Forzani, 2009)
Amer follows Ana throughout her childhood, adolescence and womanhood.
Amer is a haunting and mystifying neo-giallo told in three parts as we witness three key moments throughout various stages of Ana’s life. Amer acts as both a retelling and a homage to great giallo cinema. The visual format in which the film is told reads exactly like Suspiria and Tenebrae, with the film’s nods towards neon lighting and duality (both metaphorically and technically via the continuous use of split screen). But rather than copy directly, Cattet and Forzani use giallo films as a creative vessel for their own highly original work to pour through. The displaced narrative never meets a clear conclusion, in fact the film plays out in almost an entirely surrealistic tone, drowning any chance at linearity.
9- Piercing (Directed by Nicolas Pesce, 2018)
Reed (Christopher Abbot), comes across as a normal family man with a loving wife and newborn baby waiting at home, but this is all a facade. Underneath the disguise he hides a dark desire to kill.
Piercing is one of those films where the simple plot premise spirals out of control action by action. The enigmatic whirlwind of events do not allow the viewer to breathe at all, instead you are stuck on this disastrous rollercoaster alongside Reed as his night shifts from one mishap to the next. It is difficult to line this film up alongside notable giallo films as Piercing is entirely individualistic, but the spine of the film comes from the complex relationship between psychology, sex, and violence. Pesce aligns these three devices to interweave a tale ridden with interesting politics reminiscent of Argento and Bava’s work.
10- Knife + Heart (Directed by Yann Gonzalez, 2018)
Anne (Vanessa Paradis), is a filmmaker who specialises in gay pornography. Her life begins to crumble when her editor and partner Loïs breaks up with her. To win her back Anne hatches a plan to make one of the most riskiest film’s yet, but when a string of horrid murders occurs both the production and Anne’s life is threatened.
Knife+Heart erupted onto the horror scene with a unique magnetism that dedicates itself to honouring giallo cinema. The overall tone is electrifying without being distractingly flamboyant, most of the film’s allure is actually drawn from the characters lack of satire. The viewer sympathises with Anne and her film crew, and although the giallo elements ensure that boredom does not become an issue, the film grounds itself through the cultural connotations.
Throughout giallo films the police are seen as rather incompetent, with the outsider being the one to solve the crime (à la The Girl Who Knew Too Much), Knife+Heart continues with this tradition but in a new light. The police appear to dismiss the murders and refuse to raise alarm in response to the victims being gay men, forcing Anne and her friend Archibald (Nicholas Maury) to hunt down the killer themselves. Pesce regenerates the giallo movement in a modern perspective through exploring an exploitative based storyline but through a rare melancholic disposition.
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