Horror Films
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Apocalypse Now: Final Cut (R)
Mistah Kurtz – he dead. This bleak pronouncement closes Joseph Conrad’s 1899 novella, Heart of Darkness, and opens T.S. Eliot’s 1925 poem, The Hollow Men. Francis Ford Coppola’s 1979 film, Apocalypse Now, completes the circle by following the outline of Conrad’s novella – a voyage up a river to find a madman named Kurtz – and […]
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Scary Stories to Tell in the Dark (PG-13)
As humans, we are predisposed to relate through stories. Considering that some of the earliest forms of recording history itself came from cave drawings and hieroglyphics, which recorded events through broad illustrations that predate storybooks, it makes absolute sense that a proclivity towards storytelling is something ingrained into our subconscious. Maybe that’s why we’re able […]
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Midsommar (R)
Apparently the horror genre needed to be saved. That’s what I keep hearing whenever people refer to modern era horror directors like Jordan Peele and Ari Aster. As if the genre has never truly been smart or introspective or about society at large. Of course the genre is mostly looked down upon as some cheap form […]
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Annabelle Comes Home (R)
Annabelle Comes Home does not attempt to rewrite the rules of a good horror movie. It does not even attempt to rewrite the rules of a good Conjuring movie. Instead, the film shows its merits by demonstrating the continuing vitality of both jump scares and horror movies where unabashed good stares evil in the face without flinching. There is a future for this franchise indeed.
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Child’s Play (2019) (R)
Someone, somewhere, I don’t know who, once said that instead of Hollywood choosing to remake movies that were considered classics or were fondly remembered, they should do the exact opposite and remake the movies that failed to work the first time around but still had some considerable promise to their premises. Great idea, and an […]
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Brightburn (R)
The text of Psalm 130:3 is familiar to Christians everywhere, even if the reference isn’t. In this verse the Psalmist, anonymous but speculated by generations of commentators to be David, asks a timeless question: If you, O Lord, should mark iniquities, O Lord, who could stand? Commenting on this verse, Matthew Poole writes, “This […]
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The Curse of La Llorona (R)
Syncretism has come to the Conjuring universe. Quite obviously, The Curse of La Llorona is a story rooted in Mexican folklore, dating back to the 19th century, about a mother who does the unspeakable, killing her own children in a fit of jealous rage. Considered as a piece within the Conjuring universe, however, the film functions much […]
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High Life (R)
Space wasn’t always scary. At first, it was simply the stars and little else. As time went on, humanity began to learn more about the solar system, but I doubt many thought to be afraid of it. In the early 20th century – perhaps even sooner than that – writers began to speculate about the cosmos in a less strictly academic manner. Science-fiction was born. By and large, these writings were optimistic and more than a little naïve.
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The Conjuring 2 (R)
The message that emerges from The Conjuring 2 is simply this: home is where the father is. More pointedly, home is where the faithful father is. The Hodgsons are a family with no father, and their lives are objectively and demonstrably the worse for it. Their biological father’s abandonment left the family exposed – exposed to grinding poverty, the stresses that accompany it, and bullies of all sorts. Ed reverses this trend, restoring function, hope, and faith to the home. Conversely, when Ed is eventually driven from the home through deception, the Hodgson family crumbles – emotionally and in terms of their safety.
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Hellboy (2019) (R)
Life’s all about checks and balances. Just last week I was excited that we’d finally gotten a superhero film, Shazam!, that was interested in being something different and had real thematic weight. And then the clunky, absolutely unnecessary reboot of Dark Comics’ Hellboy came along this weekend and reminded me that happiness is sometimes so fleeting. To put it mildly, […]
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Us (R)
Since we’re about to speak at length about a horror film, especially one directed by someone that every news source likes to tout as the next Hitchcock, it seems appropriate to use a quote from a Dario Argento film. After all, Argento was the true successor to Hitchcock, and even then, to call him just that would be […]
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Let the Right One In (R)
Early in Let the Right One In, a young bully asks his victim, “What are you looking at?” Soon we find the victim, a dispassionate boy named Oskar (Kåre Hedebrant), fantasizing about turning the question back on his tormentor. His rehearsed vengeance is overheard by the vampire Eli (Lina Leandersson), and well into her courtship […]
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Halloween (R)
Let’s just get this out of the way: the new Halloween commits a cardinal horror movie sin in that it all feels too safe. In other words, it’s not scary. This latest sequel erases the rest of the canon in favor of being a direct follow up to John Carpenter’s 1978 original. Almost by fiat, this is surely the […]
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Interpreting ‘The Shape’ of Halloween (R)
Originally conceived as The Babysitter Murders, the plot for Halloween is actually about as streamlined as that title might suggest. It features several babysitters, a hulking man with a knife, and some murders. But in the hands of any director other than John Carpenter, we wouldn’t still be talking about Halloween forty years later. It is, in fact, one of […]
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Venom (PG-13)
When I was a very young boy, I thought Venom was pretty cool. I liked Spider-Man, and I liked dinosaurs, and I imagine this is why the idea of a carnivorous Spider-Man held some appeal for me. It is more difficult to pinpoint the source of the morbid curiosity that drove me to the theater this weekend, where I forked over twelve dollars to see Sony Pictures’ Venom under the pretense of “taking one for the FilmFisher team.”
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In the Mouth of Madness (R)
Last month, I had the pleasure of attending a horror triple feature at the Egyptian Theater that was a part of an ongoing series known as “New England Nightmares.” To be perfectly honest, New England has always been the perfect setting for ghost stories and horrifying haunts. It is a landscape where an original way […]
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Hereditary (R)
Horror films are fickle things. The genre has been undeservedly judged as a lower art form, which has led to some perception that the only function horror can have is to produce cheap shocks and minor thrills. Every so often, however, a film comes along and completely challenges that notion. At their best, horror films expose […]
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Upgrade (R)
When did we collectively decide that summer moviegoing should be franchise fare only? Aside from the odd comedy or rare sleeper hit, there’s been this horrible recurrent trend that the summer movie session is ripe for every manner of sequel, prequel, remake, reboot, and intellectual property to dominate the box office. The problem is, these films are becoming increasingly unsatisfying and they never quite feel like the kinds of big crowd pleasers that will stand the test of time.
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A Nightmare on Elm Street (R)
Imagine, if you will, a perfect American suburb. You know the kind, probably only immortalized on the silver screen or through photography. All the houses are colonial style, possibly Victorian, with white picket fences and freshly mowed grass. The neighborhood’s safe enough for the kids to play without adult supervision, and everyone is familiar with who lives on their block. But scratch that seemingly perfect veneer, and there’s decay under the surface.
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Annihilation (R)
Like Alex Garland’s first film, Ex Machina, Annihilation is a tense, well-paced story set in an oppressive environment and haunted by an uncanny terror. The score is dissonant and unsettling, the rules that govern the world are mysterious yet coherent, and its horror scenes are truly chilling. Lena (Natalie Portman) is a former soldier turned […]