The revenge story, one of the classics in horror or just in narratives in general. A horror film designed primarily to be cathartic towards a sense of evil. I checked out a karmic revenge story in the last 12 Days of Halloween, it was Audition. There is a pure visceral sense in the notion of a protagonist being hunted or hunting someone else. It can cause very tense scenarios to arise, or cause some very grey moments much like in the series the Walking Dead where vengeance is always a part of the plot when humans are involved. Terrible moments breed a sense of revenge out of necessity, purely because what someone is left with is either a hole that eats away at them or a goal to set their wrath upon. Final Girl offers us a horror/thriller based on the same principles of something like Leon the Professional, instead with a hint of revenge rather than necessity. Yet how does Final Girl handle both a protégé story and a revenge story at the same time and do they both coalesce into a solid film?
You know what I dislike more than midterms, the fact that it halted my continuation of this event! Curses! Well luckily it’s all over for a tiny bit, enough for me to continue. I will catch up on the days I missed and it will most likely carry over into November. Well without further ado let’s get back to the fun!
Scream is my defining horror film as a horror fan, primarily the very reason why I decided to enjoy what was horror. Discovering it young, it was one of the first films I had watched without my parents’ permission and the blood probably did give some frights. Skip to when I was about 15-16 and here it came up again. I didn’t remember it well, but I was still oddly excited by the prospect of watching it. I understood the meaning of it, and I enjoyed it. It was defining moment as a fan of horror and Wes Craven became an inspiration for me. Seeing this man create some of the more iconic horror films blew me away especially with the kind person he was searching for actors who were trying to start to make it. Now you probably understand why this Scream television series had a lot to overcome for me as there was no way I could not be heavily critical of it. Despite having high hurdles, is Scream still a show worth at the very least checking out?
Sorry for the one day absence, but I will still be holding to me 12 posts for this event. Might mean I need to double up after my midterm is over, but I will try and get back on track by at least Friday.
It is always nice to watch film’s that feel distinctly indie, where we have the director also being the editor, cinematographer, producer and writer. These types of stories for a directorial debut are always empowering. I mean look at Stallone and Rocky, what many would have called a dead in the water production eventually given the Oscar for how well it was done. No matter the budget, there is this silver-lining that can come from it with a person with complete artistic control of their vision essentially. Yet the unhinged allowance of someone having their creative vision go wild without being reined in can prove to be fatal, much like the Star Wars prequels (even if I still enjoy them to some degree). So will They Look Like People tread that thin line of artistic freedom well, or will this psychological horror thriller be merely a misstep in a budding director’s career?
Why do I always come back to home invasion films? Clearly whenever I watch one I always complain to myself why I consistently put myself through them. I mean the last time I did the 12 Days of Halloween I came across the great allegory that was Hush. There is always the potential to be surprised by a genre to which you expect nothing from besides cheap scares and a lack of point besides horror. That is why I tried You’re Next this time around, lauded for its well done breaking down of the genre tropes I despise. Directed by talented up and coming director Adam Wingard, this film seems like it could easily defy my cynical perception of home invasion horror. I mean it has a shoestring budget, which I think often horror movies try harder and excel with a more grungy style. Though with all my glowing about potentially enjoying yet another film from this bloated horror genre, will I instead be setting myself up for failure?
First off I want to thank Irina from drunkenanimeblog for suggesting me this film for my 12 Days of Halloween. I appreciate them offering my first glimpse into the repertoire of Kim Jee-woon and most certainly not my last.
Psychological thrillers are a conundrum to me, because what makes a true delving into the mind is often misconstrued by people when the shove on the tag “psychological”. Proper psychological films or shows must offer us an unfettered look into the mind of another, with unrestricted access to their innermost fears and thoughts. If their mind is twisted showcase that twistedness. A Tale of Two Sisters offers us the minds of a family, dysfunctional and always on edge. It offers us what I would say should be classified as one of the more clever psychological thriller/horrors I have seen. The thing is though, this was a film that bombed making only one million from a budget of almost four. Does that mean the film is clearly an underrated cult classic or quite possibly is the film just too convoluted in its psychological dissection of its cast that it wasn’t received well?
Parenting is hard. I mean the very nature of caring for someone beyond yourself is often a difficult thing to achieve before the word “parent” occupies a space close to you. Even then the nature of caring for that person is far different than the caring one needs to hold towards a child. The type of mentality to teach them the world, to determine the right emotion needed for each situation, and how they could essentially survive out there in the concrete jungle. What happens when the very nature of humanity, the darker side, starts to overwhelm your senses? What happens if the devil is whispering in your ear? The Devil’s Candy asks the questions without ever filling you in on the answers. Embracing a self-aware story, one that darkly covers the concept of parenting and our own vices as humans in regards to it. Does the darker side of humanity come to life in this heated horror or are we looking at a film that merely screams at you in the hopes that what it’s saying might sound profound?
Welcome back to another session of the 12 Days of Halloween! Another marathon of spooky stuff and buckets upon buckets of gore (I mean obviously that is horror these days). So why not start this marathon off right with a little…schlock?
Some horror films these days want everything. They want the good budget special effects and meta humour, but also the classic feel of low budget horror. They want the retro mixed in with the modern and often this leads to less than stellar results. Good horror films that come out nowadays feel that they either need to be a bit of exploitative fun or to be so tongue and cheek that it can come off as a bit too juvenile in its humour. Like the in-joke somebody uses just a bit too often until it eventually becomes annoying. The Babysitter fits the above criteria of feeling modern in some ways and retro in others, yet does it break the mold and find new life in an aesthetic almost done to death with mediocrity or merely realize its past curfew and it should be put to rest already?