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Director profile – Rob Savage

British horror cinema continuously delivers fantastic films and filmmakers alike, with countless classics rising from home soil; whether that’s folkloric nightmares, Hammer Horrors, gritty zombie fests, satiric parodies or creature features, Britain is a motherland of talent. One of these standout contributors to the genre is director Rob Savage. In the past couple of years, Savage’s work has traversed the land of short films, indie features, and major Hollywood debuts, with each picture delivering a unique, distinctive slice of terror for audiences to devour. 

Savage’s efforts to captivate his audiences can be traced back to his pure passion for filmmaking, which began early in the award-winning director’s journey when he made his first short film at the young age of 13. For a budding teen, his debut short, Sex Scene (2009), tackled quite the earnest storyline of two young individuals trying to navigate the world of intimacy. Following his first taste of creation, Savage continued to wield a camera and direct, edit and write a bundle of independent short stories such as Act (2010), Sit in Silence (2011), and I Am (2012).  

By the time Savage hit the later years of adolescence, it was clear that the young man with a movie camera would be bound to a career within the industry. Throughout the following years, Savage’s hard graft and drive for creation would yield significant results, being a testament to contemporary horror cinema.  

Strings (2012) 

Savage’s first feature-length film was a pure grassroots venture, and the filmmaker has since expressed the opportune nature of its production. Straight out of school, Savage used all his university savings to create a film, which he made off a borrowed camera and was filmed at his college. However, just like many great directors, Savage did not need the expensive thrills to produce a standout debut. 

String’s warm reception is mainly owed to Savage’s emotive take on a tender yet dramatic coming-of-age story following four teenagers who vow to spend their last summer together before venturing into adulthood. The film is thematically reminiscent of the series Skins (2007) and visually remindful of the likes of Fish Tank(2009), with the film’s microbudget adding to the close, personal feel where the narrative is given the chance to hone in on the character dynamics. 

The film went on to win the Raindance Award at the British Independent Film Awards before being procured by Vertigo Films for distribution. Upon this triumph, Savage went on to create a streak of short films, one of which, Dawn of the Deaf (2016), co-written by Jed Shepherd, would foreshadow the pair’s success in the horror genre. 

Host (2020) 

Savage’s second feature is the sensational Host, an unforgettable film that not only catered to many horror hounds’ frightful tastes but also invited an influx of new fans to the genre due to its rapid, viral success. Much of Host’s achievements come from how the film weaponizes its desktop setting to initially familiarize, drag the viewer in, and then torment them for long after watching. Its authentic coding also spoke to the film’s timely release. 

Filmed and distributed during lockdown was Savage’s full-length version of a prank gone array. Savage revealed in an exclusive interview with Dead Northern that he kept up with social outings during lockdown via Zoom meetings to catch up with friends; however, when he began hearing strange noises in his attic, he knew that he could play the ultimate joke on the unsuspecting crowd. With the idea of a laugh in mind, Savage arranged a call with pals to provide emotional support as he scoped out his supposedly haunted attic, only for him to edit the live call and insert a jumpscare of a zombie lurching out from the dark from the Spanish found footage movie Rec (2007). The subsequent screams and panics got the viral treatment from the internet, making studios desperate for Savage to extend his one-minute idea into a feature-length desktop horror. 

With Shudder eventually pinning the release, Host became the most talked about film of 2020, and to this day, Host still holds a 99% Fresh rating on Rotten Tomatoes against a whopping 99 reviews! 

Host’s stellar outcome is largely owed to its gritty natural tone, where the character’s actions do not feel forced but genuine, forcing the fear to become palpable. The film’s immersive structural format is a consequence of how the entire cast and crew knew each other prior to filming and were only given loose scripts and action commands by Savage, along with co-writers Shepherd and Gemma Hurley. Host is far from rigid. It feels as if the footage from this haunted Zoom meeting really was just happened upon. It would be easy to compare Host to the likes of fellow desktop features such as Unfriended (2014) and Searching (2018), but instead, Host is a film unlike any other. 

Dashcam (2021) 

After the victory that was Host, the rumour mill reported that Savage had entered into a deal with Blumhouse Productions to create three features under their wing. The first entry to stem from this exciting collaboration was Dashcam, a screen-life horror surrounding the contentious musician Annie (Annie Hardy) as she treks through one hell of a wild night. The found footage boom is undoubtedly alive and well throughout the film, with the firsthand footage originating from dashcams, live streams and phones. 

What ensues for the next 76 minutes is a bundle of mania, including but not limited to MAGA-endorsing protagonists, lockdown conspiracies, possessed elderly women, abandoned amusement parks, car wrecks, chase scenes, occult symbols, stabbings, and an oddly entertaining but rather vulgar spew of songs carolled from Annie as she goes about this disastrous night. 

The rambunctious expedition, joyously accompanied by all of the conundrums and quirks is what makes Dashcam feel like a hazardous fever dream, where you will most definitely be left thinking ‘what on earth have I just witnessed?’ But nevertheless, in the best way possible. Dashcam is a valiant film from Savage and returning co-writers Shepherd and Hurley. It is not a movie that has been previously accomplished, and it is unlikely that cinema will get a film as provocative and brilliantly feral any time soon. 

The Boogeyman (2023) 

Savage’s latest film, The Boogeyman, saw the director take an alternative approach to horror than his previous feats, with the film taking a more traditional filming approach and swaying away from found footage altogether.

The Boogeyman comes from a 1973 short story of the same name from the one and only Stephen King, which chronicles a grieving family tormented by the Boogeyman. The film’s primary forte is the deadening atmosphere that trickles through every ounce of the film, covering the screen in a dreary, raw, and authentic mood where the sombre emotions of grief washes over every moment, alongside the peaks of haunting scares provided by the titular antagonising force. 

The film wields a commendable balance of brief ‘got ya!’ scares amidst its layers of more sincere horror which comes from both the stunning performances from Sophie Thatcher, Chris Messina, and Vivien Lyra Blair and the film’s aesthetics. The final act is brimming with these scenes of great visual capacity, where giallo-esque lighting and colourful hues fuse with the horrific imagery and the omnipresent vibe, providing a feeling that urges you to believe that evil really does lurk. 

The cinematic cherry on top, if you will, is The Boogeyman’s official seal of approval from the King of Horror, with Savage describing that King had openly praised the film and stated how it lingered with him after watching, just as a horror film should. 

Savage’s next move in his booming career is a further step into the land of horror, with it being confirmed that he is to adapt the graphic horror novel Night of the Ghoul, which follows a father and son duo as they search for the truth surrounding a long-lost horror film. However, as they unearth the secrets, they discover that this cursed film was left hidden away from the masses for good reason. What propels Savage to be one of the contemporary greats is how his love for the genre is palpable within his filmography. Horror fans make the best horror movies, and Savage’s works precisely proves this time and time again.

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Review – The Boogeyman (2023)

Rob Savage has proven his status as one of the most exciting horror filmmakers actively creating in the current market. His feature debut, Host (2020), made the common Zoom session a playground for ghostly antics to ensue. Following shortly was the enigmatically charged Dashcam (2021) which barrelled in intense humour amidst the backdrop of a live stream. Adding to Savage’s growing filmography is The Boogeyman, an adaption of the Stephen King short story of the same name (1973). 

Even in its most complex form, King’s story is simple, far from complicated, and a fundamentally brilliant portrayal of primal fears. Its own directness is what makes it a classic. Bumps in the night, the monster under the bed, and the scared of the dark logic all haunt us at one point; with this in his peripheral, Savage takes heed from extensive explanations and backstories surrounding simplistic innate frights to tackle a narrative brimming with unpretentious scares, and delivering a horror that grapples with urban-legend-like terrains. 

As with many big studio-produced films, the story replicates a wave, interweaving emotionally dense performances in between the big scares, working with a continuous play of highs and lows. And for all of the loud, gotcha frights to succeed, a solid backdrop is essential. The film is graced by the talents of Sophie Thatcher (Yellowjackets), Chris Messina (Air), Vivien Lyra Blair (Bird Box) and David Dastmalchian (Dune), all of whom carry the dramatic storyline with ease, but most notably Thatcher, who plays the role of a grieving adolescent heavy with the weight of her sister’s trauma. Thatcher exceeds expectations and propagates the sympathetic tone of the film, ensuring a connection between the screen and the viewer. 

The Boogeyman thrives on its traditional expositions, with each act defining a clear climax and then disequilibrium. However, whilst the film is far from dull, there does seem to be an error in restraint. Going from independent to studio filmmaking is a giant leap in creative freedom. It is not uncommon for executives to push specific characteristics or scenes that may generate more of a buzz, increasing the chances of financial success. Whilst this aspect leans more on the positive side, there is such a thing as too much emphasis on creating a film that ‘all’ audiences will love. Savage is such a fierce director, a true force. And yet, The Boogeyman sits at 90% ferocity rather than 100%.


It’s noted that initially, the film had that oomph factor one expects with Savage’s talents, but during test screening, audiences found the original cut too scary, meaning that specific tweaks had to be made. By no fault of the cast and crew, The Boogeyman has a slight fall when it comes down to the fear factor. However, a factor that boosts the film back towards its well-deserved acclaim is its atmosphere which is perfect for cinema viewings – just as movies are made to be seen!

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Top British Horror Films of All Time – Part Two

british horror part 2

For Part One click here…..

11. Host (Directed by Rob Savage, 2020) 

During an online seance, six friends unintentionally invite the presence of a sinister demonic force into their call, leading to fatal consequences. 

Host will definitely be appearing in cinema textbooks in years to come, thanks to Rob Savage’s groundbreaking, record-shattering, and award winning horror that took the entire world of cinema and beyond by utter surprise. Co-written by Savage, Gemma Hurley, and Jed Shepherd is a modern tale of what can go wrong when you mess with the dead. Right from the bat Host’s method of execution is such a vital contributing factor to its success.

The film was entirely filmed during the pandemic using Savage’s real life friends as the cast, creating a breeding ground for genuine chemistry to appear and radiating a realistic quality that blurs the barrier between reality and fiction, giving the impression that the viewer is properly stuck in with the action. Joining the meeting of blurred lines is the Zoom-like staging, which for pretty much everyone was a massive part of 2020. With workplaces closed and gatherings cancelled during the pandemic, society had to interact on virtual platforms, like one big facetime. And although it is crucial to state that Host is not a pandemic-based film, the online telling of events is a key component in how the story unfolds, with the psychically distanced characters exaggerating the harrowing sense of isolation. 

12. Don’t Look Now (Directed by Nicolas Roeg, 1973) 

After suddenly losing their daughter Christine (Sharon Williams), Laura (Julie Christie) and John Baxter (Donald Sutherland) travel to Venice, Italy, where John is overseeing his commission to rebuild an old church. Whilst dining Laura meets two mysterious sisters (Clelia Matania & Hilary Mason) who tell Laura that they can see the deceased Christine. Despite being skeptical, John begins to see Christine wandering around the streets of Venice. 

The entirety of Don’t Look Now can be encapsulated within the opening sequence. This scene is composed of over 100 shots and lasts seven minutes. It may not seem crucial to the whole film, but the imagery of damp weather, water, the colour red, reflections, doorways, close-up of eyes, and nature echoes the true connotations of Nicolas Roeg’s observations of agony through loss. Such substantial depth is given to the characters of  Laura and John through their striking portrayals of parents suffering from the worst of tragedies.

Yet, they do not overplay their roles, avoiding any caricature claims and creating this bonded connection between the two, mingling Don’t Look Now’s ability to get under the skin of the viewer. Don’t Look Now forces us to come to terms with our own impending doom, no one is safe from the all being and all knowing presence of death. And whilst the threat in Don’t Look Now plays more on the character’s mental strength, a sense of psychical danger constantly looms, but we never know where from…

13. The Omen (Directed by Richard Donner, 1976) 

The newly-adopted Damien (Harvey Stephens) raises his parent’s (Gregory Peck & Lee Remick) suspicions when strange occurrences begin to happen at the hands of Damien’s evil ways, leading them to the disturbing truth that their adopted son might be the Antichrist. 

Supernatural horror played a large role within 1970s horror, with Richard Donner’s The Omen lining up with the likes of The Exorcist (1973). Allowing the film to remain recognisable after all these years later is the impeccable naturalness that Donner works with, even when the subject matter is woven with mysticism. Through this cosmic underlay comes a film rife with disturbing imagery that toys with societal fears of evil defeating the ‘good’. And thanks to the moralistic tone the horror is enveloped through an abundance of psychological terror and suspense.

This is mainly explored via a supposedly innocent subject, an actual child; making the viewer fearful of the most innocent of topics. Accompanying The Omen’s slow, creepy exposition is the pioneering achievements that were made in pushing horror out of its shell and into a commemorated piece of art (which was rare for the time). The film won an Academy Award for Best Original Score, which is no surprise as Jerry Goldsmith’s haunting composition combines atmospheric choir tones with Latin chants which remain chilling no matter how many times you hear the chime. 

14. Censor (Directed by Prano Bailey-Bond, 2021) 

Enid (Niamh Algar), an uptight film censor at the height of the video nasty panic, watches a film that parallels the events surrounding her missing sister’s disappearance, leading Enid on a quest to uncover the truth. 

Nothing screams British traditionalist attitudes towards horror than the video nasty scandal. The 1980s saw a rise in home video recorders, introducing an influx of mainly Italian and American exploitation films and supposedly “corrupting” the minds of the country, due to the sick filth that these films displayed. Whilst this era of film censorship has not been lost on the history of cinema, not a single film has covered and used the scandal as a tool like Prano Bailey-Bond’s incredible hit Censor. Enid’s career as a film censor is a mechanical device that aids the story very nicely, with the metaphorical message of the video nasties being ‘an invasion of the mind’, mimicking Enid’s descent into a chaotic spiral where she is unable to differentiate fact from fiction. Censor is clearly food for the mind and soul, but for good measure Bailey-Bond also visually hypnotises the viewer through the vivid colour palette that has a 1980s aesthetic without being overly flashy and electric. 

15. Dracula (Directed by Terence Fisher, 1958) 

Jonathan Harker (John Van Eyssen) takes up a post as a librarian at Count Dracula’s (Christopher Lee) castle. After a lack of contact from Harker, vampire hunter Dr. Van Helsing (Peter Cushing) goes to the Count’s lair only to discover Harker has been turned into a vampire, leaving Van Helsing racing against Dracula to get to Harker’s fiancée Lucy before it’s too late. 

Hammer Horror has reigned as a booming success within cinema for decades, making a name for themselves by bringing classic monsters from literature to a technicolour screen, including Frankenstein, The Mummy, and the one and only Dracula. Legendary auteur Terence Fisher took on history’s most significant vampire, and his execution was certainly monumental in creating the creature that audiences all know and love today. Christopher Lee is open about his inspiration for this role, having not seen any previous Dracula-based films prior to filming, but he did read the original Bram Stoker novel (1897).

Lee recognised the unusual romanticised portrayal of an undead man, leading him to play his role with an air of subtle eroticness and a shade of elusiveness. What Dracula essentially did for the genre was create an extravagant boost in making the image of the vampire one of high class, a wealthy being who oozes aristocracy and freedom to do what one likes. Lee makes Dracula unstoppable in his wrath, forcing us to be both highly intrigued and fearful of this mysterious bloodsucker. 

16. The Girl with All the Gifts (Directed by Colm McCarthy, 2016)

A deadly disease has abolished free will and essentially turned those infected into zombies. Melanie (Sennia Nanua), is one of the few immune to the breakout and is confined to a research facility. After a lab breach, Melanie escapes along with her teacher (Gemma Arterton) and two soldiers on a quest to evade the infected, and potentially guide the rest of humankind’s survival. 

The Girl with All the Gifts champions a bravely talented cast composed by the likes of Glenn Close, Gemma Arterton, Paddy Considine, and the girl with all the gifts herself, Sennia Nanua. The film is a literal breath of fresh air, especially considering the heavily flooded sub-genre, but Colm McCarthy’s treatment of the original source material, M. R. Carey’s book (2014) of the same name, is an enlightening prospectus that tackles human ideologies and how the mistakes society makes shouldn’t always be pardoned. Coupling up with the entangled web of consciousness is the starkly dramatic set designs and use of setting to convey a musty land that has perished due to the lack of societal efforts, almost furthering this message that people are the cause of the devastation, not necessarily the infected ‘zombies’. 

17. Saint Maud (Directed by Rose Glass, 2019)

Maud (Morfydd Clark) is a young nurse who leads a simple life based on reclusivity, routine, and devout catholicism. After an undisclosed incident at her previous job, she takes on the role of hospice carer for Amanda (Jennifer Ehle), an eccentric retired dancer riddled with terminal cancer. Maud’s religious nature transcends into obsession, leaving her to believe that she can save Amanda’s soul from damnation no matter what the cost. 

Saint Maud became one of the most talked about films in recent years, with the buzz promising an unorthodox descent into female chaos and the shattering effects of falsified devotion. The film is an intimate depiction of a carer’s unravelment into an alluring yet dangerous territory as she weaves her way in and out of consciousness to show the true extent that the psyche is willing to go through to achieve inner peace. Escorting Saint Maud’s spiritual temperament is the inherently British setting that grounds the reality of the film, allowing it to not become too whimsical and in return establishing a realistic uneasy environment that rings too close to home. The North Yorkshire coast acts as Maud’s playground where the dazzling vibrancy of the seaside arcades and packed pubs contrast against her empty and dark sense of mind. Through both the emotive tones and atmospheric setting, a world of uncertainty is grounded where we never know what to expect. 

18. Peeping Tom (Directed by Michael Powell, 1960) 

Mark Lewis (Carl Boehm) is a psychopathic serial killer who takes it upon himself to film his victim’s murders. 

Peeping Tom may have a bountiful reputation as being an absolute classic, and that is very much true, however, upon the film’s release, a consensus arose that regarded Michael Powell’s work as too perverted, leading it to be pulled from some cinemas and damaging Powell’s reputation as a filmmaker. Powell’s brave notion of fixating a message between voyeurism on screen and real-life has been an inspiration for leading directors for years including the ‘Master of Suspense’, Alfred Hitchcock. Most notably Peeping Tom was an influential point in Psycho (1960) and retrospectively has a subtle impact on the origins of meta-cinema. Besides the innovative take on prying eyes, the film clearly is a visual celebration that revels in starkly lit rooms with stunning shadows that emulated the previous decade’s passion for noir cinema and mysterious figures. 

19. Ghostwatch (Directed by Lesley Manning, 1992)

A documentary camera crew is invited into Britain’s most haunted house, leading to a night of chaos and terror. 

If there’s one thing that British people love, it’s paranormal ‘reality’ television. Shows such as Most Haunted and Celebrity Ghost Stories have kept the curious entertained for years, but there’s one programme that went above and beyond and gave audiences the fright of their lives. Ghostwatch was a pseudo-reality made-for-TV special that aired on Halloween, 1992. BBC1 advertised the special as a live broadcast with the presented events being ‘real’ and the reactions being genuine. Little did the public know that the scripted show was recorded weeks before.

None of it was real, but as no one watching knew, the BBC switchboard received over 1,000,000 phone calls from concerned audiences detailing their fears over actual ghosts being presented. Considering that the respected Michael Parkinson was involved, many were furious over this hoax. Over the years Ghostwatch has acted as an inspiration point for countless television mediums including Derren Brown. More significantly, the creators behind Host (2020) have gone on to state that Ghostwatch was a point of reference for them, even going as far as to include subtle hints within the film. For example, in Host a Zoom caller ID reads 31101992, the same date as Ghostwatch’s broadcast. 

20. The Woman in Black (Directed by James Watkins, 2012)

Arthur Kipps (Daniel Radcliffe) is a young lawyer working in 20th-century England. Following his wife’s death he travels to a remote village for work, however, he soon discovers that his late client’s house is terrorised by a vengeful ghost. 
Based on Susan Hill’s 1983 novel of the same name is one of Britain’s most terrifying ghost stories as the emotionally bound film is a white-knuckled terror fest from start to finish. This gothic horror is a modern Hammer Horror film, with their familiar grand story elements being immediately recognisable. But rather than feel like a classic film that we’ve all seen before, James Watkins uses Daniel Radcliffe’s incredible talent to showcase a vengeance-fuelled film in a romanticised light where both style and substance equally collaborate to create a highly effective horror.

The film works on two levels, one being the familiarity of the narrative, and the other being the eerie gothic setting that is reminiscent of films such as The Haunting (1963). The almost castle-like environment surrounded by dark water and foggy skies immediately set up an environment that feels unsafe and beyond uneasy. The Woman in Black also understands its need to create something refreshing. Even though Hill’s work has been developed previously, the film throws in effective jumpscares when necessary to surprise the viewer, whilst also working on creating tension through simple atmospheric measures.

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Oujia boards, planchette’s and the dead: Top seance horror movies

1- Witchboard (Directed by Kevin Tenney, 1986)

At a party a group of friends use an Oujia board in the hopes of harmless fun, but the connection between the afterlife and reality becomes blurred when an evil spirit unleashes a world of chaos. 

Witchboard was notably shunned by many audience goers and critics after its 1986 release, leaving a sour reputation in its wake. Many years after, as with most 1980s cinema, the film received a cult status, with devotees rewarding the over-the-top storyline alongside the flamboyant characters. Witchboard dares to stand out from the rest of seance-based films, partly due to the lack of sterness regarding contacting the dead, but also in how it tiptoes the fine line between being a horror comedy without becoming a mocking parody. 

Movies that delve into supernatural territory, particularly those who use an Ouija board as the tool to talk to spirits, don’t gel well with touches of comedy. Yet, director Kevin Tenney has this unique ability to fuse outrageous plot points with sizable spooky visuals. Speaking of Tenney, it can be said that the brazenly wild dynamics of Witchboard created a stylistic backbone for his future work, especially Night of the Demons (1988), everyone’s favourite Halloween popcorn movie.  

2- The Haunting in Connecticut (Directed by Peter Cornwell, 2009)

In hopes of relieving the journey travelling to and from hospital for their son Matt’s (Kyle Gallner) cancer treatments, the Campbell’s move into a nearby rental where the family begin to experience terrifying hauntings and violent outbursts from the ghosts occupying the house. 

Before everyone knew The Conjuring’s (2013) Ed and Lorraine Warren’s names, there was The Haunting in Connecticut, which is based on a “supposed” true story (the word supposed being used operatively) that the Warren’s investigated in the 1980s. From the outset, the film’s reliance on tropes that horror habitually uses is noticeable, the whole idea of a family moving to a haunted house is not unfamiliar, nor is the notion of the apparition affecting the young in the house, but the execution of such familiarities pushes the film into refreshing depths that creep up slowly on the viewer.

Through a magnifying glass, deeper themes such as the fragility of morality is abundantly clear, mostly owing to Matt’s condition, but also in relation to the house’s history that is unearthed from a terrifying on-screen seance. The seance scene reveals that the previous occupant had some truly sinister intentions up his sleeves. What allows all of these dense threads to disperse is the ultra ominous vibe that is composed by the classic supernatural elements, that no matter how many times they’ve been done can still be a good’un. 

3- Host (Directed by Rob Savage, 2020) 

A group of six friends host an online seance to relieve some boredom, little do they know that they accidentally lured in a deadly demonic presence. 

Though 2020 was a quieter year for cinema, independent filmmaker Rob Savage took the entire world by storm with his spine tingling feature debut, Host. Co written by Gemma Hurley, Jed Shepherd, and Savage is this regenerative effort in injecting an adrenaline boost into found footage and the rising trend of desktop horror. The premise was sparked from a viral prank that Savage pulled on his friends during a zoom meet-up, in which he claimed that strange occurrences were happening in his attic, leading him to ‘inspect’ the site and find a demon. Of course, the unknowing zoom attendees freaked out, and screamed in terror over the charade. With all the viral attention studios quickly became interested in this entirely unique and timely story, leading to the streaming giant Shudder picking up one of the 21st century’s most raved about films.

What’s so special about Host is the personable impression that it holds. The cast and crew were already acquainted, infusing the film with a creepy level of realness. Those brave enough to watch Host actually feel like they’re in the call, taking part in the terrifying action. Across the entire film the seance plays out rather realistically in terms of character reactions. There are those who take the medium seriously, appreciating the threat that the dead can hold, and then there are the others who can’t make it more than two minutes without laughing. Belief isn’t necessary to feel a part of something ‘higher’, and Host uses this sceptical notion to guide and control what the viewer feels. Yes, we may laugh along at the beginning over the *very* precise jargon used within this seance, but by the end it is impossible not to feel provoked by the mysterious art of spiritual channeling. 

4- The Changeling (Directed by Peter Medak, 1980)

After a tragedy, composer John Russell (George C. Scott) begins to experience strange phenomena at his stately home. To confirm his suspicions he holds a seance with sinister consequences. 

Although The Changeling has long garnered gleaming praise, it isn’t held up alongside the genre’s heavyweights such as The Shining (1980) and Rosemary’s Baby (1968), despite the film’s creative and nerve-jangling execution. Driving The Changeling is the sense of existential dread that ceases to remain contained in one space. This terror stems from the emotive connotations of trauma, which we are led to believe is solely confined within the house and its history, but in reality director Peter Medak thematically implies that the hell being unleashed within the building has the potential to grow and grow until it becomes so enriched in evil that nothing will stop the torment.

With such an elaborate backstory it could be easy to become muddled in its own eccentricity, yet any disarray is diffused as a result of the eerie seance scene where the presence of the ‘other’ becomes so heightened and serious that even seasoned horror fans will experience an eerie level of fear. 

5- The Exorcist (Directed by William Friedman, 1973)

When 12-year-old Regan (Linda Blair) becomes possessed by an evil entity, her mother enlists the help of two priests to perform an exorcist. 

It would certainly not be appropriate for a seance movie list to exist without the presence of William Friedkin 1970s showstopper The Exorcist. Many have said that the film is overrated, and maybe they’re right (questionable, I know), yet there is simply no denying the cultural phenomenon that is associated with The Exorcist. To have people fainting in the audience during screenings is extreme enough, let alone the outcry it caused amongst media censoring offices across multiple countries, which is the consequence of the harrowing depiction of Regan’s monstrous descent.

The idea that an innocent little girl could wreak havoc upon religion and humanity all thanks to an ouija board is beyond unsettling, especially considering the depths of hellish behaviour she experiences as a result. The medium of spiritual connection has always been alluring, society is naturally drawn to the idea of a spiritual realm. Regardless of general attitudes towards seances, they are not necessarily meant to provoke evil, nor are they meant to prompt devilish behaviour. Quite refreshingly The Exorcist is aware of this, and instead focuses on creating a narrative that rehashes cinema’s treatment of catholicism; generating a whole new interest and inspiration for audiences and filmmakers to explore. 

6- Verónica (Directed by Paco Plaza, 2017)

In 1991 Madrid, teenager Verónica (Sandra Escacena) begins experiencing the presence of a sinister being after playing with an Oujia board. 

Verónica is a first class extravaganza of nightmarish scares that ignites a surge of panic amongst those who are fearless enough to sit through the entire film. The slow beginning takes its time in building up the world around Verónica. By the time the action starts we have become so well connected with her situation, forcing the stakes to be raised. Rather than sitting back and watching the torment go down, we fear for the characters well being and the consequences of such events.

With this bond that Paco Plaza forms a running surge of originality is created, refusing any scene to slip into normality, instead the trepidation always arrives when it is unexpected. Joining the fierce narrative is the evocative ‘true story’ that inspired the events. Verónica is based upon the real case of Estefanía Gutiérrez Lázaro, who engaged in a seance at her strict catholic school using an Oujia board to contact a spirit. However, a nun interrupted the session by breaking the board, supposedly triggering an ancient anger which led to the death of Lázaro. The story may not be the first one of its kind, but where the case of Lázaro stands out is from the presence of the law. Spanish police ended up becoming involved due to the mysterious circumstances of the situation, leading even them to report of unexplained activity. 

7- Seance (Simon Barrett, 2021)

At an elite boarding school a group of friends play a prank on a fellow student pretending to summon a ghost through a fake seance. But when they find her dead shortly after they suspect that they have awoken something evil. To make matters worse, when new girl Camille (Suki Waterhouse) arrives, a string of mysterious deaths occur. 

Seance melds together two components of a great horror movie, an isolated setting and threat of the supernatural. Simon Barrett, who has written some stellar films such as You’re Next (2011) and The Guest (2014), tiptoes around the concerns of the supernatural through making the audience second guess the harrowing occurrences at the school. Not once do we know what direction we’re heading in, one moment the film is a whodunit puzzle and then the next he grapples with the idea of the occult. However, not once does the buffet of themes become messy, alternatively, it’s refreshing and totally absorbing to witness the complex enigma that is Seance. 

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This week in horror: 15.08.21

dead northern news

Host director Rob Savage unveils details about new film with Blumhouse Productions


Host was certainly the most talked about film of last year, with its soaring reputation going down in horror history. Rob Savage’s feature debut soon gained buzz amongst major production companies, particularly Blumhouse Productions. When news broke last year that Savage had set up a three film deal with Blumhouse everyone was more than excited to learn more about this upcoming hit, especially since he joins forces yet again with Host writer’s Gemma Hurley and Jed Shepherd!

Although the details have been kept very much underwraps, it has been revealed that the title of his second feature is Dashcam. Based on the sneak preview image, Dashcam is presumably conveyed as vehicle dashcam footage. The innovative filming technique is very similar to the desktop method used in Host, but this isn’t where the similarities stop as Dashcam is kept short and sweet with the length only totalling 77 minutes. 

Dashcam is set to premiere at the Toronto International Film Festival this year. 

Head Count’s Elle Callahan brings us ‘Witch Hunt’’ 

Head Count was one of the most surprising horror’s to come out of 2018. The looming atmosphere coupled with impeccable performances, and tense thrills quickly gained buzz within the horror community. Now, the mind behind Head Count, Elle Callahan delivers another soon to be success ominously titled ‘Witch Hunt’. The film follows Claire (Gideon Adlon), and her family who help fleeing women across the border to seek asylum in Mexico.

However their operation meets a bitter halt when they are stopped by witch hunters. The reviews have definitely aired on the positive side with Callahan cementing a strong reputation as a young horror auteur. Audiences can now get a taste of the action as Witch Hunt will be released via video-on-demand on the 1st October, in perfect time for those Halloween movie marathons. 

The latest ‘Scream’ earns itself an R-rating 

Scream 5 has been the talk of the horror scene ever since its production began in early 2020. The return of Ghostface is getting closer and closer as it is scheduled for release in early January 2022, however, the question lingering on everyone’s minds has surrounded whether or not Scream 5 will carry on the series reputation of getting an R rating? Our questions have finally been answered as Scream producer Chad Villella has revealed that the fifth installment will be as gory as it gets. 

Filming on Chucky wraps

Everyone’s favorite maniacal doll Chucky will be back later this Halloween as the upcoming Child’s Play TV series ‘Chucky’ has finished filming. The series will go back to the earlier days of the franchise as Jennifer Tilly reprises her role as Tiffany, Chucky’s devilishly dark companion. Whilst the return to what made Chucky so iconic has been welcomed by fans, the show will also dive into uncharted territory as the episodes will take a focus on Chucky’s unexplored backstory. 

Chucky will premiere on October 12th on SYFY.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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News

This week in Horror – News round up 28.08.20

horror news

Here’s our horror news round up, a few of this weeks biggest stories and happenings in the genre!

Reboot Revival: Scream and The Thing both set to return to screens

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Scream has consistently shown a critical concord of well received sequels, so why not throw a fifth one into the mix. Scream 5 has been confirmed, and what’s more important is so are directors Matt Bettinelli-Olpin and Tyler Gillett, who brought us last year’s gem Ready or Not.

Many familiar faces from Woodsboro are set to return, with the likes of Courteney Cox, David Arquette and Neve Campbell all reprising their roles as the renegade survivors of Ghostface. Scream 5 is sure to be a blast through the box office, with many hopeful fans anticipating the return of Craven’s subjective masterpiece.

Scream isn’t the only classic with a reboot in talks, with The Thing being brought back to life by the notorious Blumhouse Productions. John Carpenter’s 1982’s sci-fi horror has an infamous reputation, with a remake already penned in 2011 by Matthijs van Heijningen Jr.

Although the film is still in early development Carpenter himself has confirmed his involvement. It hasn’t yet been confirmed whether the film will be a remake, re-imagining or a sequel. With Carpenter’s contribution it’s sure to be an honourable mark within The Thing’s film series.

Netflix’s surreal horror – I’m Thinking of Ending Things arrives on the 4th September

Charlie Kaufman tackles Iain Reid’s debut novel following a young woman who accompanies her boyfriend on a road trip to meet his parents. However, after a snowstorm prevents them from leaving, she soon notices her perception of reality has been wildly hindered. The film has a talented cast including Toni Collette, Jessie Buckley, Jesse Plemons and David Thewlis, who all seemingly tackle their roles extremely convincingly enhancing the erratic unnerving atmosphere of the film.

From the first look this film is a surreal ride into a perplexing maze of events. The uneasy trailer presents us with a false verisimilitude that presents normal situations in a sinister tone. The film’s atmosphere is structured to appear ordinary from an outside perspective but with unstable undertones lurking beneath the surface, similar to both Get Out (Jordan Peele, 2017) and Hereditary (Ari Aster, 2018).

It’s best to watch I’m Thinking of Ending Things with little prior knowledge to fully experience and appreciate the disturbing events that unravel.

First Look: The creators of The Haunting of Hill House return with The Haunting of Bly Manor

In 2018 Mike Flanagan brought Shirley Jackson’s novel to life with the terrifying Haunting of Hill House. Now Flanagan and the talented cast return for an adaptation of Henry James’s novella The Turn of the Screw. New pictures were released this week showing us an insight into Bly Manor’s haunting aura, including dark hallways, nightmarish dolls and a grandeur setting.

The foundation of Bly Manor seems to coincide with Hill House’s mysterious surroundings, but this time round Flanagan has hinted at an evoking relationship between haunted people and a haunted space. Bly Manor is set to return this Autumn, perfectly synchronising with Halloween.

Host director and writer team up once again for new prison-based horror flick

Host soared to success as one of the first lockdown films, however the director Rob Savage’s success doesn’t stop there as he alongside Host writer Jed Shepherd are set to create an original horror film based on a group of female prisoners discovering the prison’s dark secrets lurking around the halls.

Little has been released about Host’s follow up, the story has been likened to an allegory for the reverse effects of lockdown; once afraid to stay in for prolonged periods now transforms into a fear of venturing into the outside. Savage’s talent was exhibited largely throughout Host and if that’s anything to work from this film will be a hit.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.