Posts Tagged ‘The Thing (1982 film)’

13 Films to Watch for Spooky Season 2024

Posted: September 9, 2024 in Review, Scary Stuff
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As we’ve entered September, horror fans have started celebrating spooky season. Because as we all know, spooky season starts as soon as the stores start putting up stock, and a few stores already have. And since we’re all thinking about what movies to watch, I’m putting out another list of films you can consider for this year.

I’ve tried to come up with a good mix of well-known and lesser-known films, as well as a good mix of older and newer films. So, hopefully there’s something here that will appeal to every horror fan out there. Enjoy, and let me know if you’re familiar with any of these films or if there are any I should check out myself. The more films we share, the better!

YellowBrickRoad (2010)
In 1940, a small New Hampshire town up and walked north along an unmarked trail into the unexplored woods. Half were found dead, and the other half were never found. In modern day, a film crew tries to figure out the mystery of the disappeared townsfolk, including following the townspeople on the route they went. A route with a stone marker bearing the legend “YELLOWBRICKROAD.”

This move is an unsung gem. It’s a surreal and psychological piece of rural horror that takes the isolation and interpersonal conflicts of The Blair Witch Project and ups the ante by 100%. It’s not going to be everyone’s cup of tea, but it is certainly going to be an interesting watch, no matter what.

Antrum (2018)
A film-within-a-film, Antrum is a documentary about…Antrum, a supposedly cursed film said to be the deadliest film in history. The documentary crew manage to get a rare copy of the film, and, for the first time, show it to the public. What proceeds is a horrifying trip through hell which will leave you wondering if you’ll survive to see the morning.

I love horror mockumentaries, and this one is one of the best I’ve seen. It starts out as a documentary, showcasing the history of the film, before showing us the actual film. And it all feels damn realistic, to the point you could almost believe there’s a cursed film called Antrum and you’re really watching it. In fact, my sister and I saw it together and wondered if we would survive after watching it! As you can see, we did, but it still made us believe a little.

Peeping Tom (1960)
This proto-slasher follows a shy young man who works as a cameraman and spends his free time killing women while recording their deaths. It’s a slow-burn psychological horror that really lets you get to know its main character. I’m honestly surprised it hasn’t been remade, because we’re so obsessed with recording everything. Anyway, I would totally check this out if you’re interested. It’s not as bloody and horrifying as other horror films, but it is fascinating and at times quite tense.

The Dark and the Wicked (2020)
A pair of siblings return to the family farm when it appears their father is on death’s door. However, events unfold that show that something sinister at the farm. And it’s after the family. It’s a very dark and nihilistic film, and while some will be annoyed by certain aspects of the film, such as how the characters react to the supernatural presence, it is still a very chilling film. If you’re looking for something very morbid and grim, this film is for you.

The Void (2016)
After finding an injured man on the side of the road, a sheriff’s deputy and several other townsfolk find themselves under siege at the local hospital, menaced not just by a mysterious cult, but by monsters hidden within the hospital hallways. For those who love cosmic horror, this is one of the best I’ve seen in years. The special effects and creature designs bring to mind both The Thing and Color Out of Space, and the story is a terrifying thrill ride. It’s a movie that gets better with every viewing, and I highly recommend it if you want to scare yourself silly this Halloween.

Late Night with the Devil (2023)
In the 1970s, a struggling late night show host brings the lone survivor of a Satanic cult and the therapist working with her onto the show for a Halloween special. As you can imagine, shit eventually hits the fan. When this film got its limited theatrical run earlier this year, people were raving about it and even called it the best horror film of 2024. While I wouldn’t call it that, I would say it’s quite scary and a well-done film. I’m actually planning on watching it again myself as soon as my copy comes in from the library.

(I should warn you, though, a couple of images from the film utilize AI. It’s only three, but I know a lot of people feel strongly about AI, so I figured you should know.)

When Evil Lurks (2023)
In a world where demons physically manifest like diseases and can infect everyone around the possessed, a pair of brothers try to protect their families when an infected individual goes missing and the disease starts to spread around the tiny village.

Some have called this the best horror film of 2023, and I can see why it was called that. Besides having a neat twist on the concept of demonic possession, this Argentinian horror film has plenty of tension and scary moments that keep you on the edge of your seat. Give it a watch and see for yourself.

Stopmotion (2023)
A stopmotion animation artist is assisting her demanding mother in completing her last film. When the latter becomes gravely ill, the artist tries to make her own film, only to find herself spiraling into Hell.

I’m not normally a fan of horror stories where the whole premise is “the horror is the main character’s spiral into mental illness.” However, this film is quite captivating in how it melds stopmotion animation and real life storytelling to give us a frightening film with some seriously disturbing imagery. Warning you now: have a strong stomach before you go in to watch this one.

Night of the Demon (1957)
A psychologist comes to England for a convention, only to learn that one of his esteemed colleagues has died and a so-called magician and cult leader is claiming his magic is responsible. Along with the deceased professor’s niece, the psychologist investigates the magician and his cult, and along the way learns that there may be more to the magician’s claims of magical power than just trickery and suggestible followers.

While it’s an older film, it’s quite influential in showing the demon multiple times throughout the film (quite unusual for the time), and many horror fans and creators, including Stephen King, have cited it as an influence. Just don’t watch its shortened American version, Curse of the Demon, because the original is the one to watch.

Land of the Dead (2005)
Set in the same universe as Night of the Living Dead and Dawn of the Dead, Land of the Dead takes place decades after the undead have taken over the world. Pittsburgh has become a last bastion for humanity, with the wealthy living in a magnificent luxury skyscraper and the poor living in slums. However, when one zombie, nicknamed Big Daddy, begins leading his kind to the city after a supply raid ruins his territory, it sets off a chain of events that will forever change the city.

Fun fact: this was the first time in the film series the word “zombie” was actually used for the zombies! Up until now, the terms used were “ghouls” or “undead.” Besides that, the film’s quite thrilling, with plenty of horror and action to satisfy fans. Give it a watch, especially if you’ve seen the first two films in the series (I would skip Day of the Dead, the third film).

Other fun fact: I’ve met Eugene Clark, the actor who played Big Daddy, and he was very nice. He even let me take a photo with him, which you can find on my Instagram.

In the Mouth of Madness (1994)
An insurance investigator goes to a small town to try and locate a horror author whose work is considered so terrifying, people have actually gone crazy from reading it. What happens there, however, will not only change him forever, but the world as well.

The last film in John Carpenter’s Apocalypse trilogy (the first two being The Thing and my own favorite, Prince of Darkness), this film has grown quite the cult following due to its meta-narrative and exploration of cosmic horror. It’s not perfect, but it’s a fun and at times quite scary movie with lots of great imagery and cool ideas involving what it’s like to live in a fiction story. By the end, you’ll want to read Sutter Cane’s work as well. No matter what it does to your sanity.

The Empty Man (2020)
In the 1990s in the nation of Bhutan, a group of American tourists discover a cave, which leads to terrifying events on a mountaintop. Twenty-three years later, a former police officer is asked by a friend to find her missing daughter, and finds himself wrapped in a cult with ties to the tourists in Bhutan.

This movie is almost hypnotic in how it draws you in, and it is both terrifying and…dare I say this? It’s satisfying. It’s that good, and I’m honestly sad that it’s rarely available on any streaming service I actually have access to (and never on DVD or Blu-Ray). Anyway, it’s a great horror film, so check it out if you trust my word.

Pontypool (2008)
In a small Canadian town, a radio host and his team are working in the middle of a blizzard when they get reports of riots and horrifying deaths happening elsewhere in town. As time goes on, a strange sort of apocalypse starts to occur in the town. An apocalypse based around language.

I first saw this in college and loved it. I saw it again recently, and, while there are some aspects about the ending I dislike/don’t buy, it still holds up very well. It’s a very tense and freaky film with a great concept at its heart, so if you’re looking for a fun twist on the zombie apocalypse, I highly recommend this one.

And those are my recommendations, my Followers of Fear. But tell me, Followers of Fear, have you seen any of these films? What did you think? And what are you watching this season? Anything you would add to this list? Let’s discuss.

Until next time, my Followers of Fear, good night, pleasant nightmares, and only 52 days till Halloween! Get the Headless Horseman’s horse ready for him at once!

Is “Elevated Horror” Really a Thing?

Posted: April 18, 2022 in Reflections, Scary Stuff, Writing
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Photo by Pedro Figueras on Pexels.com

I’ve heard this term thrown about a few times since January, first in the new Scream movie and most recently in an analysis of a horror film on YouTube. “Elevated horror.” And the speakers, whether in in the Scream movie or in the YouTube video, made it sound like it’s a recognized subgenre of horror with its own staple of tropes and trappings. Like slasher and its killers and gore, or Gothic with its ancient, diseased settings and corrupting influence.

The thing is, it isn’t. Elevated horror isn’t an actual subgenre of horror. I’ve consulted with dozens of writers on this (thank you, Twitter and the Horror Writers Association Facebook group) and it’s not a subgenre. It seems like a subgenre of horror at first glance when you look at works referred to elevated horror. In movies, films referred to as elevated horror include The Witch, Babadook, It Follows and Get Out, among others: they’re horror stories that focus more on probing psychological drama, characters and metaphor than blood and gore or supernatural horrors. Often, there’s a powerful social commentary being presented through the narrative, such as Get Out‘s commentary on race.

In terms of literature, “elevated horror” might have all of these as well as flowery language. It might be almost called “literary horror,” because there’s an emphasis on wording the story nicely and making it just too dark to be called “literary fiction.” Examples include The King in Yellow by Robert Chambers, Interview with the Vampire by Anne Rice, The Deep by Alma Katsu, and A Cosmology of Monsters by Shaun Hamill.

And, most importantly, “elevated horror” can sometimes cross over into other genres, such as thriller, literary, or even comedy.

Can you really say The Witch and Get Out belong in the same subgenre?

Sounds like a subgenre, doesn’t it? But it’s not. The works called elevated horror are all as different from each other as roses are to tulips are to primulas. All flowers, but all different kinds of flowers. Let me explain: The King in Yellow and The Deep are cosmic horror mixed with deep psychological themes, The Witch is some cross between folk, religious and historical horror, and Get Out‘s searing satire makes it borderline horror-comedy. In fact, it was nominated at the Golden Globes under categories for comedies or musicals!

Yet all of them are given the designation of elevated horror. So, if it isn’t a subgenre, what is it?

The conclusion I’ve come to after speaking to numerous other writers is that elevated horror is actually horror films taking place in elevators.

Just kidding, that’s elevator horror, and the only example of that I can think of is 2010’s Devil.

No, “elevated horror” is a marketing term. And like all marketing terms, it’s directed towards a specific audience. Who is this target audience? It’s people who normally wouldn’t check out horror because they fear it’s low class, dangerous, or degenerate. They may want to check out horror or be curious, but the stigma still attached to the genre keeps them from doing so. Either that, or they won’t check it out unless a work is given a specific designation.

Calling something “elevated horror” is basically saying, “This isn’t like other horror stories, where half-naked teens are voyeuristically killed with tons of blood and gore, or where supernatural entities menace children in sewers. No, it has nuance and social commentary! There’s psychology and drama and fleshed out characters! You can be respectable while enjoying this!”

In other words, it’s another way of something is high-brow. “There are no explosions and superheroes here. No aliens or elves. No star-crossed lovers up against the odds. Only real people having real life situations, or real people in situations that are absurd but it’s okay, because it says something important about society.”

I almost wish it was a subgenre. I might have found a home for my ballerina-meets-the-King-in-Yellow story already (still working on that, give it time).

Pinhead may not be from an elevated franchise, but that doesn’t make him or Hellraiser any less awesome.

And the problem with this marketing term is it’s misleading. By calling certain movies or books “elevated horror,” it’s labeling all other horror as “trash,” or at the very least “common.” Either way, the designation puts other horror stories down. And that’s a shame, because there’s such good horror out there. Dark Harvest, Kill Creek and Salem’s Lot aren’t high brow, but they’re great stories that thrill and can leave their readers up late into the night. Same with The Thing or the Hellraiser franchise: they may never win Oscars, but goddamn are they scary, and the latter has led to one of the most memorable characters in the slasher genre.

I’m not trying to put down the term. I’m just saying we should understand what it means, both for works designated as such and those that aren’t. And if it lets you enjoy horror, great. Just make sure to check out works that aren’t “elevated” and whose creators don’t really think or care if their work is called that.

Personally, I can see some of my work being called elevated, but I’ll just say that I was trying to write a fun story and wanted others to enjoy it as well.

That’s all for now, my Followers of Fear. After getting my thoughts on this topic out, I’m off to dream of beasties and ghosts. Until next time, good night and pleasant nightmares.

Review: Color Out of Space (2020 film)

Posted: January 26, 2020 in Review, Scary Stuff
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The Colour Out of Space (yes, with a “u” in Colour), is my fifth favorite HP Lovecraft story (click here for my Top 8 Lovecraft stories). There have been a couple of adaptations of the film over the years, but they’re either foreign films that are hard to come by, or are really bad for one reason or another. So when word popped up in late 2018 that Nicholas Cage was going to star in a new adaptation of the film, directed Richard Stanley in his first major outing since the 1990s, fans of Lovecraft, horror and/or film in general were piqued. We only got more excited as news from the film trickled back to us. When the trailer came out, I immediately knew I had to see this film.

I got back from seeing it a little while ago, and I’m happy to report, it was well worth the wait. This film is freaking terrifying!

Color Out of Space follows the Gardner family, who are living on the family farm and have converted it into an alpaca farm.* One night, a meteor lands on their property, giving off a strange, colorful light. Soon after, lightning strikes the meteor several times during a storm, the meteor disappears, and then things get weirder from there. The animal and plant-life start changing shape and color, technology goes haywire, and the family starts acting unhinged. All of it can be traced to a mysterious light. An entity. A color. From out of space.

If you’ve seen the film Hereditary, Color is a lot like that. It’s a slow, excruciating build with the characters going through a downward spiral, punctuated by moments of strong terror that left me petrified in my seat. The use of CGI is sparing, used only when practical effects in the style of The Thing aren’t possible. And by the way, those practical effects are amazing! They create some truly horrifying visuals, and Richard Stanley knows when–or even if–to truly reveal the mutated monster. There are also a lot of excruciating scenes involving bodily harm that left everyone in the theater freaked out, including me (not easy to do), and they added to the film in the best way.

As for the actors, they all do an excellent job. This might be the first time I’ve actually enjoyed Nicholas Cage in a movie, as they managed to balance his noncommittal acting style with his crazy acting style in a way that works. It’s funny to see him go from “normal” to acting like a bitchy teenager, but it’s also horrifying because you see how it’s connected to whatever’s affecting the family. The rest of the actors are great, embracing their roles and really convincing you they’re going through this tragic event.

Did I mention that Colin Stetson, who did the music for Hereditary and will be doing the music for the upcoming anime adaptation of Uzumaki by Junji Ito, did the score for the film? Will, he did and it works really well. Sound plays as much a big role in this film as visuals, and Stetson’s score adds the perfect touch to the atmosphere.

First time I’ve actually liked Nick Cage in a movie. How about that?

My only criticisms are that there’s a scene involving the Necronomicon (yeah, there are quite a few Lovecraft Easter eggs in this film) that I feel wasn’t given the best payoff. That, and the character of Ezra, played by Tommy Chong of Cheech & Chong fame, felt kind of extraneous. If you cut him out of the film and have one of the Gardners say some of his lines, it wouldn’t change much.

All in all though, this is not only an excellent adaptation of Lovecraft’s work, it’s a great horror film that’s both faithful to the spirit and text of the original story and terrifying to watch. On a scale of 1 to 5, I’m giving Color Out of Space a 4.8 out of 5. Any fan of Lovecraft, or of horror in general, should come away satisfied (or freaked), so buy a ticket and get ready to see the first great horror film of 2020.

(I already plan to buy the Blu-Ray when it comes out. And I really hope the disc is more colors than just blue, if you get my meaning.)

*Yes, it’s an alpaca farm. And it’s that kind of farm for more than just laughs. Also, the family “dog” is a wolf-dog. Trust me, I researched it. What kind of family owns alpacas for farming and a well-behaved wolf-dog used for herding, I don’t know. It would make for a great reality show, but I digress.

Review: Underwater (2020 film)

Posted: January 18, 2020 in Review, Scary Stuff
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You know, when the trailers for this film hit, the response was pretty lackluster. “Oh, it’s got Kristen Stewart in it and it’s a disaster film about an underwater sea base that’s about to be destroyed. They have to find a way to survive. Whoop-dee-freaking-do!” But then word among the horror community started saying…positive things. And later rewatches of the trailer made it look cool. So I decided to see it, though I couldn’t do so till this weekend because I was sick last weekend.

Underwater follows six workers on an underwater sea base seven miles below the surface of the Pacific Ocean, drilling for resources to bring above. However, a mysterious quake causes major damage to the base, meaning they have to navigate the failing base and find a way back to the surface or die. But there’s something else down there with them. And it’s not going to stop till they’re all dead.

I’ve heard a lot of comparisons to John Carpenter’s The Thing and Alien with this film, and I have to say, not only are the comparisons apt, they’re justified.

One of Underwater’s strengths is how it creates its atmosphere. Soon after the movie starts, we’re thrust into the destruction as we watch a residential section of the base succumb to water pressure and shifting earth. From there, we’re right in the middle of the action as the characters have to navigate dark and narrow passages filled with water and debris. And while the situation itself is urgent, the movie takes its time, allowing us to get to know these characters as well as building a feeling of tension and encroaching doom. Realistic sets and dirty water further the feeling of claustrophobia and the horrific death just beyond the walls. Somehow, that tension is kept up even when the characters are walking across the open seafloor in suits. Probably because those suits are a thin barrier between life and death as well. Add in some well-placed jumpscares that are never excessive, and it’s damn tense.

As for the creature or creatures in this film, they are the fun innovation that change this film from just another disaster film to a Lovecraftian horror fest. Their reveal is very slow, and even when fully revealed, the darkness of the sea leaves them with a bit of mystery. Fans of certain HP Lovecraft stories will recognize the creatures. Whether you do or don’t, however, there’s no denying how scary and deadly these creatures are, and they make the film worthwhile.

As for the characters, they’re serviceable for this film. For once, Kristen Stewart’s deadpan expression works pretty well with her character Norah Price, who defines herself as a cynic trying to get by. TJ Miller as weird, funny guy Paul does okay jokes. He and the character Rodrigo, played by Mamoudou Athie, both enjoy anime. Other than that, you can’t say much about these characters, but for the purposes of Underwater, that’s just fine.

That being said, the film does have its issues. There are a few moments where the tension reaches a lull, and during those moments I felt restless and a little sleepy (though that might be because I had to wake up earlier than planned this morning). And I would have liked to see what life on the base is like on a normal day. You know, when it’s not in danger of flooding and crumpling into dust. We only get a minute and a half of seeing the pre-destruction base at the beginning of the film, and that’s mostly filled by Stewart monologuing and saving a daddy long-legs from a sink.

Altogether though, Underwater is a tense, Lovecraftian thrill ride, a modern-day The Thing, almost.* On a scale of 1 to 5, I’m giving it a 4. If you have a chance, go to the theater and prepare to dive into a world of terror. Most likely, you’ll find yourself pleasantly entertained, and more than a little scared.

*And not just in quality. The Thing actually did poorly with critics and at the box office after its release. It didn’t become a classic until it hit home video. I have a feeling Underwater will go through a similar process, though I would like as many people to see it in theaters as possible.