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Top ten formidable extraterrestrial creatures

1- Thing – The Thing (John Carpenter, 1982) 

‘Thing’: the detailed, unearthly, alien-like conundrum of a creature is not simply one of the horror genre’s most iconic beings, but one of cinema’s itself. Instantly recognisable and synonymous with John Carpenter’s grandiose auteurism is this hybrid, shapeshifting brute whose physical capacities include mutating into an array of phobia-inducing monsters including mutated huskies and gargantuan arachnids with talking heads (props to the Kafkaesque composition). The Thing’s stellar reputation is largely owed to special effects artist Rob Bottin who primarily conjured the horrid creatures throughout the entire film. It can confidently be stated that Bottin’s originality and sheer ingenuity have created the ultimate blueprint for movie monsters.

2- The Monsters – Feast (John Gulager, 2005) 

Whilst the Feast trilogy establishes that these apex predators are indeed deadly carnivores with an appetite for pure destruction to accompany their fleshy cravings, what is left undecided is their exact alien-like origin. However, forgoing whether they are innate earthly dwellers or not, what is noteworthy is how savage, beastly and ultimately gnarly these cosmic creatures truly are. Feast’s resident critters are responsible for some extremely gruesome antics such as eye gouging, head smashing, throat slashing and plenty of glimpses of archetypal sci-fi green goo and generous close-up shots of an array of slimy fluids. Further tearing into the response system of the viewer is the creature’s cruel, grotesquely evil actions that include assaulting their female victims in the most violent of manners. Feast certainly dares to shock the audience in every way possible.

3- The classic green Martian – Signs (M. Night Shyamalan, 2002)

One particular scene in M. Night Shyamalan’s Signs has garnered quite a reputation over the years, and for a very good reason as this single moment manages to conjure such a  spine-tingling, nail-biting, pure burst of alarming fright. Of course, the scene in question is the ‘birthday party scene’. Supporting lead, Merrill (Joaquin Phoenix) is shown watching the news, trying to seek out the strange alien happenings going on in the world. However, during the broadcast, a clip is aired of a birthday party that is suddenly interrupted by a gangly green alien striding across the screen. It’s a moment of such simplicity and plainness that somehow manages to reach out from the fictional world of Signs and physically affect the viewer. The graininess of the shot paired with the sudden startle aids in the ‘realness’ of that moment, giving a raw, realist agency to the scene that is usually difficult to achieve amongst all the fantasticality displayed within the sci-fi genre.

4- Jean Jacket – Nope (Jordan Peele, 2022) 

Briefly steering away from the visceral excess of horror beasts is a slightly more subtle take on extraterrestrial life that still manages to dedicate its screentime to amplifying the fear factor. Nope’s antagonist is known as ‘Jean Jacket’, a colossal UFO that takes on the shape of a biblically accurate angel with its expanding, curtained edges that flutter during its consumption and round off afterwards revealing a design that can only be described as a smoothed cowboy hat… Specific descriptions aside, what allows Jean Jacket a spot on this list is its omnipotent vibe that exemplifies mystery to harbour intense fears of the unknown and the uncanny. However, amidst all of Jean Jacket’s subtle ways, what would be a dishonour to not give credit is that scene involving Jean practically inhaling a sea of people, inducing intense feelings of brutal claustrophobia that is sure to stay with the viewer for long after watching.

5- The Long One – Slither (James Gunn, 2006) 

Known as The Long One is Slither’s force of destruction. The Long One’s parasitic origins are responsible for its multitude of transfigurations across the film. Director James Gunn inventively displays these evolutions in the most absurd yet gorily creative ways possible. For instance, one of the more memorable parasitic forms exhibited in the film is when the leech-like creatures inhabit the body of Brenda (Brenda James), making her body expand into a mammoth fleshy sphere complete with protruding veins and puddled in a pit of merlot-tinted rot that emphasises the abnormally stretched beyond belief skin.

6- Xenomorph – Alien (Ridley Scott, 1979) 

No extraterrestrial list would be complete without the undeniably infamous Alien. Ridley Scott’s 1979 tale on the powerful forces that exceed Earth is responsible for the one and only Xenomorph, an endoparasitoid species complete with a spiny tale, tubular skull and a hive mentality that makes for optimum domination over its prey. What makes the Xenomorph incredibly celebrated in the genre is its utter ruthlessness and its invasive potential. In the presence of Xenomorphs, no one is safe. 

7- Shapeshifting parasites – The Faculty (Robert Rodriguez, 1998) 

This late 1990s teen scream takes inspiration from the horror classic Invasion of the Body Snatchers (1956 [and its 1978 remake]) by placing the terror of the alien creature in its ability to shapeshift into a human, disguising and conniving before unleashing hell in its true form. Whilst The Faculty does an excellent job in the effects department when showing the creature in its full innate form, what remains the most foreboding aspect of the film is how these beasts transform into everyday people. It’s the fear of evil hiding where you’d least expect it, waiting and lurking in the shadows. 

8- Death Angels – A Quiet Place (John Krasinski, 2018) 

Hyper-evolved beings that possess the power of super hearing to the point that a loud breath is perceived as a scream is an utterly terrifying premise. These creatures, officially known in their world as ‘Death Angels’ are horror reincarnated, prepared to rip you into a million tiny pieces within seconds – as wickedly revealed during the film’s bitterly harsh opening sequence. These immense monsters are entirely blind, solely relying on their hearing to catch prey. And as discovered in the film’s sequel (A Quiet Place Part II [2020]), the Death Angels managed to achieve world domination – apocalypse style – within hours. 

9- The ‘gorilla-wolf’ aliens – Attack the Block (Joe Cornish, 2011) 

Described in the film as “big alien gorilla wolf motherf*****” are Attack the Block’s resident predators. This laugh-out-loud horror comedy may be equipped with a joke-a-minute coat, but underneath the humour are some pretty gruesome beasts that have the capability to instil enormous heaps of fright as the fuzzy, glowing creatures rapidly swarm down dark halls in their furry squads. 

10-  ‘PG’: Psycho Goreman – Psycho Goreman (Steven Kostanski, 2020) 

Psycho Goreman, also known as ‘PG’, is a self-proclaimed deadly, ferocious warrior who becomes trapped on planet Earth. PG’s death-lord ways see him destroy nearly everything in his path from murdering civilians to wrecking whole towns. However, PG does have an off-kilter charm that infuses the narrative and his persona with a warmth that can only be explained if one has seen the brilliantly wild and weird film itself. Throughout PG’s various rampages, his character becomes so emboldened with personality that it can be easy to overlook his barbarity. But one aspect that is impossible to escape is how exhaustively detailed the alien design is throughout the film. PG’s mottled skin with its constant crimson glow, coupled with a mountainous structure is a visual behemoth that both commands attention and adds to the horrifically majestical overarching tone of the entire film.

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Retrospectives Reviews

Retrospective: The Thing (1982)

“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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Horror milestones: The big movie anniversaries this year


Creepshow (Directed by George A. Romero, 1982)

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 The Evil 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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10 brutal body horror films you need to see

body horror

1- Tusk (Directed by Kevin Smith, 2014)

Wallace Bryton (Justin Long), a conceited podcast host travels to Canada to interview a viral celebrity, but when plans change he ends up interviewing a peculiar man with an odd obsession for walruses. 

Tusk (2014)

Although body horror relishes in the display of the absurd, at times what is actually more effective is a slow build up that takes its sweet time in revealing ludicrous shocking imagery that the genre is known for. Tusk is one of the most misleading films in the sense that director Kevin Smith constantly pulls in humour instead of resorting straight to horror, delaying the films ‘grand reveal’ and ensuring that our jaws are dropped when Wallace meets his fate. Tusk is no stranger to its fair share of criticism, with many early screenings delivering lackluster feedback. However, like all good things, Tusk has aged well. Now, it has a major fan following and is the first part of the True North trilogy, which also boasts Yoga Hosers and the upcoming Moose Jaws. 

2- Slither (Directed by James Gunn, 2006) 

Slither follows the humdrum locals of Wheelsy, South Carolina, as they battle an alien parasite that threatens to destroy every living being on Earth. 

James Gunn's Gory Horror-Comedy 'SLiTHER' Still Great 12 Years Later - Bloody Disgusting

James Gunn may now be renowned for his work in the Marvel Cinematic Universe, but back in 2006 he made Slither, a grossly preposterous tale reminiscent of B-movies and pure schlock. It is not uncommon for many horror films to either have a well crafted narrative with a weak exposition (and vice versa), but Slither has a unique trait of having equal amounts of visual galore and excellent storytelling. With Night of the Creeps and The Brood being major inspirations for Gunn you can be rest assured that Slither is not for the weak stomached. Slither dares to test its audience. Blood, guts, and gore is not anything out of the ordinary for an average horror viewer, but Gunn turns it up a notch by creating these ‘larger than life’ human-based beings that embody the gnarly beasts of great Troma classic’s, including The Toxic Avenger. 

3- Society (Directed by Brian Yuzna, 1989) 

Bill (Billy Warlock), an everyday teen uncovers his family’s involvement in a ghastly orgy cult exclusive to the socially elite. 

Society | Screen Slate

It is genuinely impossible to create a body horror list without acknowledging Brian Yuzna’s fascinatingly gruesome Society. Yuzna was a producer for the infamous Re-Animator, and with this in mind he bargained for a two-picture deal, with the first being Society. With such a brazen display of monstrous chaos it’s no surprise that the film still holds the trophy for being utterly surreal. As with all great films prior to the influx of CGI, Society delivers a spectacular venture made using practical effects. The final scene which has been dubbed “The Shunting” showcases a slimy limb-tastic orgy where nothing is left to the imagination. These effects came from the visionary Screaming Mad George, a renowned special effect artist known for his long-time collaboration with Yuzna. The giant puppet replicating dozens of slimy writhing bodies melting together stole the show, with the film even being shelved for a couple of years thanks to distributors being unsure whether audiences would really want to view something so disturbing. 

4- Uzumaki (Directed by Higuchinsky, 2000) 

The locals of Kurouzu-cho, a small Japanese town, begin to act strange as they become obsessed by spiral patterns. 

Fright Fest 2019: UZUMAKI (2000) | Machine Mean

Uzumaki may not be as openly obscure as other films featured on this list, but do not be fooled as this Japanese sleeper hit has a distinguishably freakish third act that loiters in the depths of your subconscious for days after watching. Based on the manga of the same name, Uzumaki is unlike any other film, in the same sense of how Eraserhead and Hausu are inimitable. And within those same lines the film is entirely disconcerting and devoid of any reality, with the most grounded scenes such as a character walking along a street, or even a family dinner becoming completely illogical. Each scene is caked in a grungy, seasick light, accompanied by uncomfortably close shots and ill-natured characters.

5- Altered States (Directed by Ken Russell, 1980) 

Dr. Eddie Jessup (William Hurt), a research scientist, investigates the altered states of human consciousness through the use of hallucinogenic drugs to determine whether the various states of consciousness are as embedded in reality as our waking state. 

In Search of the Original Self: Ken Russell's 'Altered States' Turns 40 - Bloody Disgusting

Ken Russell may appear all across media reference books thanks to his work on Women in Love and The Devils, but for an unbeknownst reason Altered States remains fairly untackled by mainstream cinema. The film aims to be both as alien and as personable as possible, as we go back in time to the creation of man followed by the progression of earth and the body. Altered States is not without its plummy oscentasciousness, but rather than become a journey into the ego, the film savours its own psychological influences. Through disavowing a sense of normality, Russell captures our attention and uses it to both daze and dazzle. 

6- The Thing (Directed by John Carpenter, 1982) 

In Antarctica, an American research team discovers an extraterrestrial life form that can take the shape of whoever or whatever it chooses. 

ULTRAKiLLBLAST — THE THING (1982)

John Carpenter’s The Thing has held a renowned reputation for decades now, as this riveting exploration into paranoia and mistrust through the body still remains just as disturbing and delirious as it was back in 1982. When body horror is mentioned many will automatically visualise the assimilating dogs, or the gangling human-spider creature from The Thing, with Rob Bottin’s effects being nominated for Best Special Effects by The Academy of Science Fiction, Fantasy and Horror Films. Carpenter is no stranger to the world of horror, but The Thing has a special zing that makes it entirely stand out. Within the weird and wild landscape of the film we are isolated and confined to a secluded zone where terror hides amongst the crowd, forcing not only a massive sense of vulnerability, but also an exploration into the ‘great unknown’. 

7- Cabin Fever (Directed by Eli Roth, 2002) 

Five friends take a trip to a cabin in the woods to unwind and have a good time. Unbeknownst to them their shindig is about to meet a fatal end as a flesh eating disease begins to spread amongst the group. 

What Are Your Biggest Fears? - Bloody Disgusting

Cabin Fever still remains a rocky entry amongst many audiences, as this rather coarse journey showcasing incredibly gnarly effects is often labelled as being gory just for the sake of it. Yet, Cabin Fever has this undeniable quirk that manages to get under your skin. Eli Roth has always been open about his inspirations, and for anyone who takes a closer look at the film the copious nods to genre classics such as Evil Dead, The Texas Chainsaw Massacre, and The Blair Witch Project is beyond obvious. But instead of creating a carbon copy of the overused cliché of a bunch of  ‘twenty-somethings in a forest cabin’, Roth creates a rambunctious world where irreverence is dialed up to the max, and crude sensibilities radiate. 

8- The Fly (Directed by David Cronenberg,1986) 

Seth (Jeff Goldblum), a renowned scientist, has successfully created a working teleporting invention, but after a terrible accident he slowly begins to mutate into a grotesque fly-like creature. 

Film Information | Picturehouse Cinemas

David Cronenberg and body horror is a literal match made in heaven, it could even be said that his work within cinema has helped shape the sub-genre, especially with films such as The Brood, Scanners, and Videodrome lying in the midst of his extensive filmography. The Fly harbours a rich history that is now ingrained in cinema culture, with the film’s tagline “Be afraid. Be very afraid” having become repeatedly used in television and advertising. What allows The Fly to excel is the delicate balance of humanising a naturally abject matter. Seth’s declining wellness throughout the film is slow, but stark. Instead of him going to bed as normal and then suddenly waking up as a monster, special effects artist Chris Walas introduces the creature gradually, as we witness at least eight stages of mutation. Accompanying this slow transition is the film’s subplot of Seth’s aggressive mutations excising his own psychological wellbeing, unmasking the dark grittiness of humanity.

9- Tetsuo: The Iron Man (Directed by Shinya Tsukamoto, 1989) 

A businessman (Tomorowo Taguchi) and his partner (Kei Fujiwara) accidentally kill ‘The Metal Fetishist’ (Shin’ya Tsukamoto), who as a strange act of vengeance transforms the couple into malformed metal-flesh hybrids. 

1001: A FILM ODYSSEY: TETSUO: THE IRON MAN (1989)

Tetsuo: The Iron Man dares to be brave. Even in its most simplistic form, the film remains berserk. As with many other body horror ventures, there is no point in trying to search for reasoning over the film’s events. Alternatively, you have to just sit back and revel in the allegorical chaos that is Tetsuo. With all this being said, the transhumanistic qualities and the metal-urbanised aesthetics are entirely captivating and beyond cathartic. Shinya Tsukamoto exhumes a twisted cyberpunk-esque structure that forces the film’s hypersexualised aura right into the limelight, making sure that the visceral execution is inescapable. Although the film’s acclaimed reputation is primarily owed to its cult fandom, Tetsuo was also one of the first Japanese films that gained attention from large film festivals, resulting in Japanese cinema experiencing a boom within the independent film market. 

10- Spring (Directed by Aaron Moorhead & Justin Benson, 2014) 

Spring takes us on the fantastical journey of Evan (Lou Taylor Pucci), as he travels to Italy in hopes of clearing his mind. However, on his journey he meets Louise (Nadia Hilker), a mysterious woman who harbours a treacherous secret. 

Drafthouse Films to Release Monster Romance 'Spring' as BitTorrent Bundle | IndieWire


Spring is an enigmatically charged horror which equalises the body and the monstrous, all wrapped up in a romance film. Spring is entirely unique in its own right. Although the core motifs of the story are not unfamiliar, the flourishing execution is as visually stunning as it is emotionally warming. In spite of the fundamentals of body horror, Spring metamorphosis’s the sub-genre through creating something that isn’t repulsive to look at, or caked in slime. Opposingly, we are enthralled by the visually abject. One of those most transfixing elements of the film is the contrast between the picturesque Southern Italian landscape and the beastly creature that lurks within society. Spring is one of those films that is not plastered on every top ten list, nor did it receive plenty of media attention, truly matching the definition of a hidden gem. 

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

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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.