The original article was published for Bloody-Disgusting.com on March 5, 2020.
This editorial contains spoilers.
“You’re not going out of your mind. You’re slowly and systematically being driven out of your mind.” – Gaslight (1944)
It’s one of the oldest tropes in the book of psychological horror: something unusual/terrible happens; female protagonist gets caught in the crossfire and blamed for it; no one believes said woman and thinks she’s crazy; we, the audience, can see she’s telling the truth and know she should be believed; woman eventually is vindicated or she wins our empathy, at the very least. In the mean time, something, someone, or a pocket of society is actually pulling the strings and the wool over her eyes through cruel mind games, manipulating, policing, abusing, and surveying her mind and body, as she fights that much harder to prove that no, she’s not “crazy”— she’s just being gaslighted.
The original article was published for Bloody-Digusting.com on April 9, 2020.
Blood, Satan, the occult, fighting off zombies, social chaos, violence, death— on the surface, these descriptors sound like your average indicators of our favorite horror movies, however, they’re just as representative of horror’s musical cousin equivalent: heavy metal. Just like metal horns and concerts pair so perfectly, these misfit subgenres have been tied together for decades— even coming together as one in the form of “metalsploitation,” (yep, a real term) in which heavy metal music is exploited, satirized, and, most importantly, portrayed lovingly within its own, unique variety of horror films. In honor of the latest heavy metal-horror movie to join the subgenre’s slate, the Alexandra Daddario-starring We Summon the Darkness that’s arriving on VOD this week, we’re looking at each decade of heavy metal’s progression and relationship to the horror genre.
The original article can be found at Bloody-Digusting.com.
This article contains spoilers.
For as far back as the genre’s inception, horror has been pinning its protagonists against the biggest baddy, seducer of sin, and purveyor of evil within existence: Satan. Whether he’s looking to claim an earthly human body or he’s manipulating characters into doing his “work,” horror has been fascinated with the Devil for decades— but especially in regards to his relationships with women and female characters.
The original article can be found at Bloody-Disgusting.com.
This decade gifted us a plethora of auteur filmmakers that brought something completely fresh to the horror genre, while still managing to derive influence from beloved classics of the past— Jennifer Kent, Issa Lopez, Robert Eggers, Jordan Peele— to name a few. But there’s one creator in particular who has excited myself and many others to next-level degrees with his assuredly eccentric, provocative, ballsy filmmaking style: Ari Aster.
The original post can be found at Bloody-Disgusting.com under “featured editorials.”
2009 big-budget studio horror was chock-full of lifeless remakes, satirical horror-comedies, and even emerging fresh takes on zombie movies, but slow-burn, ‘80s-inspired nostalgia— which we now see in droves— was never really on the slate…that is, until the masterful combo of a little slasher/Satanic cult/haunted house indie called The House of the Devil came along.
(Original post can be found at Bloody-Disgusting.com. This editorial contains spoilers for Tigers Are Not Afraid, It Chapter Two, The Nightingale, and The House That Jack Built.)
Issa Lopez’s poignant and revelatory Tigers Are Not Afraid has made such an impact on the horror genre because it differs from so many others films that are given to us: its narrative is told through perspectives that we never see enough of in mainstream cinema; its fantastical elements often add to the film’s sense of peril, as opposed to solely bringing the characters comfort; and, most interestingly, it contains a fearlessness to incorporate grim (but necessary) portrayals of child violence into its storytelling.
The original post can be found under “Editorials” at Bloody-Disgusting.com.
For those of us who have trudged through all 8 seasons of the rollercoaster ride that is American Horror Story (for better and for worse), one subgenre that we’ve been impatiently waiting for Ryan Murphy & Co. to tackle is the 1980s “golden age” of horror: slashers. After all, there is nothing that AHS delivers more on than the gratuitous sex, gore, campiness, and questionable morality that thrives in the slasher subgenre. And finally, for the show’s upcoming ninth season, 1984, we’re getting the Friday the 13th season of our dreams.
So before we don our mullets and bust out the campfire songs, let’s look at 10 films that may have inspired AHS 1984.