Posts Tagged ‘horror tropes’

Slender Man has been one of the most talked-about fictional figures to be created in the past ten years. It seems that it was inevitable that a major film adaptation of the character would come out, though nine years after the character’s introduction and two or three years after his peak in popularity seems later than I’d expect. But since the film’s trailer came out, there’s been a lot of discussion on the film, not just whether it would be any good or if it was too late for a Slender Man film, but also if there should even be a film based on the character. I won’t touch on that last subject (that’s something for a post for another day), but I can answer the first two.

Starting with if the film is any good, I’m going to say I have the same feelings towards Slender Man as I did to The Forest: a concept with great potential, but an execution with poor payoff.

Based on the famous Internet boogeyman, Slender Man follows four teen girls who find an online video that’s supposed to summon the titular entity. Soon after, they start getting sick and having nightmares. When one disappears, the remaining three realize that something is afoot, that they are being watched and stalked by an entity alluded to in folklore and on the Internet by a variety of names. And it won’t leave them alone.

The problems with this movie are numerous. For one thing, this movie is excessively trope-filled. And while we horror nuts love our tropes, we like them done with a little style, or a bit of love, or even some subversion. And we never like the film to be so trope-filled that it’s hitting us over the head with them. None of that love is here, and thus the tropes ring hollow. In addition, the film fails to build an atmosphere. Watching the film, I didn’t feel creeped out or terrified as I might have with another film. I just felt neutral the whole time, even when they are trying to scare me with disturbing footage (again, in another film this might have been terrifying). When you have a horror film filled with hollow tropes and no atmosphere, that doesn’t bode well for said horror film.

On top of that, the characters are pretty flat. It’s almost like they have variations of the one generic teen girl personality. I know you only have so much time to build personalities in a film that focuses on scaring the shit out of you, but you could literally shift these girls into each other’s roles, and it wouldn’t make much of a difference.

And finally, there are plot threads that are left hanging. They just present some threads, and never wrap them up. I left the theater with a lot of questions: what happened to that one girl we last saw looking out a window? Is the character Wren a preacher’s kid? Shouldn’t that matter more to her character? What happened to that one dude? We kind of just forgot about him.

Such potential for this character. And they wasted it with his first official film outing.

So yeah, Slender Man doesn’t have that much going for it. Does it have any good points? Well, the actors are decent. They’re not given much to work with, but what they do with it is pretty good. There are a few effective jump scares. And for all its faults, the film seems to have some respect for the Slender Man character and mythology. They really tried to incorporate as much as they could of the mythology into the film, and it shows.

But other than that, this film is poorly written and overly-reliant on tropes, with uninteresting characters and a lot of plot threads that just don’t get resolved. On a scale of 1 to 5, I’m giving Slender Man a 1. If you want a horror film based off a popular folklore character, there has to be better than this.* In the meantime, I would skip this one. And hope the next time a film about a creepypasta character is made, it’s done a lot better than this.

And as for whether it was too late for a Slender Man movie, I don’t think so. There’s always an opportunity to make an old story or idea new and relevant again (look at last year’s It, for example). I just feel that Slender Man was too reliant on the character’s past popularity and thus didn’t put that much work into making a good movie. If they had, this could’ve been something awesome, rather than a pointless piece of commercial fluff trying to make a buck off of something popular. Like The Angry Birds Movie.**

*Hell, there’s a better Slender Man film out there! You see, this is the first official Slender Man film, with the permission and blessing of the copyright holders over the character (yeah, he’s not as public domain as I thought he was). There was one a few years ago made without permission, a found footage film also called Slender Man that I honestly enjoyed more than this. It wasn’t the most amazing thing, but it was a good deal better than this piece of crap. Too bad it wasn’t official, because I prefer it over this one.

**Or the Friday the 13th remake. Okay, that’s not commercial fluff, that’s just another crap film that takes a great horror character and does everything wrong with him. And until something better is produced to remove the stain, I’LL NEVER STOP HATING ON IT!!!

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Veronica dropped onto Netflix back at the tail end of February. A Spanish film directed by Paco Plaza, best known for the critically acclaimed REC films, it quickly gained a reputation as “the scariest film on Netflix.” I try not to pay attention to that sort of hype, but any film that was getting that sort of recognition is likely going to make it onto my watchlist. Last night I watched it, and I would’ve reviewed it right then and there, but it was late, so I went to bed. And then today I had a busy morning and early afternoon. So I hope you don’t mind that I’m getting this post out so late.

Based on actual events,* the film follows Veronica, a Spanish schoolgirl living in Madrid in 1991. Since her father’s untimely passing, her mother has been working long hours at a restaurant/bar, leaving Veronica to care for her younger siblings. One day, Veronica and a couple of classmates bring out a Ouija board so that Veronica can contact her father’s spirit. Instead she contacts a dark entity that seems intent on not only haunting/killing Veronica, but her younger siblings as well.

While I won’t say this is the scariest film on Netflix (Lord knows I haven’t seen enough of their selection to say that), it is a damn good scary movie.

While the film is filled with the normal tropes of many possession movies–things moving on their own, scary invisible or shadowy entities, people acting totally creepy uner the influence of the evil spirit–they’re done so well that you forget that you’ve seen these tropes before. The actors all do a very decent job, especially newcomer Sandra Escacena as Veronica, who really makes you believe she’s this character and sympathize with her troubles. I also seriously loved Sister Death, a blind, elderly nun who helps Veronica realize what she has to do to fight the spirit after her (because of course there’s going to be a nun who gives advice). For an old blind woman, she’s a bit of a badass, and was never dull when she was on screen.

But on top of that, the film doesn’t go overboard with the fact that it’s a period film. Most properties taking place in popular recent decades do everything in their power to remind you that they take place in that decade. And while that’s not necessarily a bad thing and is sometimes part of the charm (see Stranger Things or Ready Player One), it’s kind of refreshing to see a film that’s more focused on its story than on its culturally-popular decade.

There are a couple of things that take away from the film. For one thing, there are trippier moments in the film, like a scene where Veronica is running across the print of a page from an occult magazine on the way to her mother’s restaurant, that feel rather unnecessary and add nothing to the film. On top of that, for being the titular character, Veronica isn’t the most developed character. Yeah, she’s a responsible teenager taking care of her younger siblings and misses her father, but those are just character tropes. They don’t make Veronica herself memorable like Carrie on prom night was memorable, or how Annabelle the doll is memorable without being anything more than a creepy, possessed doll. In the end, I’m going to remember the film more than I remember the actual character the film is named after.

And as I said, this film is filled with a lot of familiar tropes. And while I’m fine with that, I know there are a lot of other horror fans who won’t care for that, no matter how well done they are.

But all in all, Veronica is a definitely a new gem in the horror film genre. On a scale of 1 to 5, I’m giving this film a 4.5. Head to Netflix, turn it on, and get ready for an experience you won’t be able to look away from.

*No seriously, something did happen. Apparently in 1992 a bunch of Spanish schoolgirls did use a Ouija board, only to have the ceremony interrupted. One of the girls later died because of a mysterious illness, which some have suggested might’ve been due to demonic possession. So while we’re not exactly sure what happened, there’s enough there that this film has more of a claim to the “based on actual events” tagline than Texas Chainsaw Massacre ever did.

Go to any slasher movie. I guarantee someone will do something stupid. And I also guarantee there’s a reason behind why they did it.

So yesterday I was doing some edits on Rose* and one of the points in the beta reader notes stood out to me. In that particular point, my friend/colleague/beta reader Joleene Naylor pointed out that it was taking the titular character Rose a lot longer to figure something out about the scene that Joleene had figured out much earlier. My immediate first thought was, “Well, it’s horror. Everyone’s a bit slower in horror.” And that thought really stuck with me. Yeah, the characters in horror aren’t always the brightest bulbs in the closet, are they? People in slasher films take too long to realize there’s a killer hunting them around a lake notorious for murders and disappearances, the family stays in their haunted house and might even pretend things are normal even if it’s obvious there’s demonic possession at work, dumb teenagers run upstairs when they should run out the door. They either realize something well after the audience has realized something, or they make really dumb decisions. And it’s such a well-known trope, it gets parodied quite a bit in our media, like in this Geico commercial.

This got me thinking: is this intentional on the part of horror writers? If so, why?

Well, I thought about this throughout the day (couldn’t write this before because I had to go to bed and then to work), and I think that what’s happening is intentional. However, I don’t think the intention is to make the characters stupid idiots.

First, let’s consider something: we’re the audience, and the characters are characters. In our daily lives we’re not keyed up, checking to see if horror-movie circumstances everywhere we go (and if we are, we’re usually recommended to see a doctor about that). It’s only when we sit down for a horror story that we start looking for signs of horror, because that’s what our brains are trained to do. Similarly, unless they’re enjoying a horror story or think they’re in one, characters won’t typically see all the signs of something evil around them unless that evil chooses to make itself known.

There’s also the fact that authors have to tell a story, and often the stories they tell have to be of a certain length. For example, I classify a novel as sixty-thousand words or more, so I have to figure out how to keep a novel going for that long. One of the ways to do that is to make the characters figure things out much slower than the audience, either by only giving them clues slowly or later in the story, or by actually making it so they can’t connect the dots until it’s convenient for the story. And considering that part of the appeal of horror, the thrill of the mystery and the unknown as well as our reactions to it once exposed, this is a sound strategy.

Okay, so making characters slow on the uptake is part imitating people in the real world, part storytelling tool. But what about stupid decisions?

Well, that’s actually pretty easy to answer: they’re under stress. When a character is being chased by a killer or trying to get away from a ghost, they’re under unimaginable pressures. So unless they’ve been trained to think under pressure, like in the Army, they’re not going to make a rational decision. They’re going to make split-second decisions that they hope will ensure their survival, and because it’s a horror story, they’ll likely make the wrong decision. Unless the author says otherwise, of course.

And even if they’re not in a stressful, life-or-death situation, the need for survival can cause us to do very stupid things sometimes, as well as our characters. Polly Chalmers, one of the protagonists of Stephen King’s Needful Things, keeps a charm around her neck, despite suspecting that there’s something alive in it and it’s twisting her personality somehow, because the thing is easing the debilitating pain of her arthritis. In other words, fulfilling a need to help her live.

Sometimes a character acts a certain way either because they’re imitating real people, or the author needs them to be that way.

So it’s not that characters in horror stories are dumb or slow. They’re victims of imitating people in the real world as well as the author’s discretion in storytelling. And we the audience, free of those issues, are able to pick up on things they can’t or won’t for a little while longer.

Of course, we will continue to call characters stupid and wonder how they could not do the smart thing. That just comes with the territory. But perhaps the next time we sit down for a scary movie, we’ll also consider what the characters are going through, as well as what the storytellers behind them decided was best for the characters and their story.

That’s all for now, my Followers of Fear. Hope this gave you plenty to think about. I had fun just thinking of it. Until next time, pleasant nightmares.

*Speaking of which, the editing on Rose is going very well. Yesterday I got through four chapters, bringing me halfway through the fourth draft. At the rate I’m going, I could be done before the end of the month. And after that, hopefully it’s a short wait till I find a publisher. God-willing, anyway.