Metalsploitation: The History of Heavy Metal in the Horror Film (Originally Published for Bloody-Disgusting.com)

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The original article was published for Bloody-Digusting.com on April 9, 2020.

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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.

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The Devil to Make Her Do It: THE BLACKCOAT’S DAUGHTER & Depictions of Satan and Women in Horror (Originally published for Bloody-Disgusting.com)

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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.

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How Ari Aster Embraces Horror Conventions to Create His Own Unique Contributions to the Genre (Originally Published for Bloody Disgusting)

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The original article can be found at Bloody-Disgusting.com.

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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.   

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A Love Letter to Great Indie Horror: THE HOUSE OF THE DEVIL Turns 10 (Originally published for Bloody-Disgusting.com)

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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.

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TIGERS ARE NOT AFRAID and the Justified Inclusion of Child Violence within Horror Films (Originally Published for Bloody-Disgusting.com)

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(Original post can be found at Bloody-Disgusting.com. This editorial contains spoilers for Tigers Are Not AfraidIt Chapter TwoThe 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.

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MIDSOMMAR solidifies Ari Aster as a contemporary master of bizarro horror

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There is a handful of contemporary auteur filmmakers that are bringing something completely fresh to the horror genre, while still managing to derive influence from classics of the past– Jennifer Kent, Robert Eggers, Jordan Peele– to name a few.  But none have excited me quite to the degree of the eccentric, strange, provocative, ballsy filmmaking style that Hereditary (and now Midsommar) creator Ari Aster possesses.

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10 of the Most Unsettling Moments in Doll Horror (Originally published for Bloody-Disgusting.com)

The original post can be found under “Editorials” at Bloody-Disgusting.com.

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There is a very specific reason why I asked my mother to return the many porcelain dolls she bought for me when I was a kid: I watched too many horror movies. Porcelain dolls, baby dolls, life-size dolls, and especially ventriloquist dummies: I had seen far too many of those damn things open their eyes, come to life, and kill people in movies, and I wanted no parts of it.

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In Fabric Review- Overlook Film Festival (originally published for NightmarishingConjurings.com)

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The original post can be found here.

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Kill, couture, kill!  You’ve got an evil-spirited dress wreaking havoc upon all those who encounter it, pitch-black humor about consumerism, demented kill scenes, Peter Strickland’s direction, and an A24 distribution.  IN FABRIC is the British horror-comedy that we didn’t know we needed.

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‘The Lodge’ Review – Overlook Film Festival (originally published for NightmarishConjurings.com)

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The original post can be found here.

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I’ve never been too keen on having children, quite frankly, and thanks to Veronika Franz’s and Severin Fiala’s 2014 feature Goodnight Mommy and now their much-anticipated English-language follow up, THE LODGE, not only do I not want to have children of my own, but I sure as hell do not want to be a stepmom anytime soon either…

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The 10 Most Memorable Mother Figures in Horror Since 2010 (Originally Published for NightmarishConjurings.com)

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The original post can be found here.

It’s Mother’s Day, and no one sacrifices their heads and literally goes to hell more for you than your mother.  Within the horror genre of the 2010s, we’ve witnessed brave moms, nurturing moms, witchy moms, mentally ill moms, grief-stricken moms, and everything in between, creating one of the most unforgettable decades for motherly horror than ever before.  Here are the 10 Most Memorable Mother Figures within the Horror Genre of the 2010s. (Spoilers Below)

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What I’ve watched lately: ‘I Trapped The Devil’, ‘A Tale of Two Sisters’, ‘The Autopsy of Jane Doe’, ‘A Ghost Story’, ‘The Killing of a Sacred Deer’, ‘The Innocents’

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Still from The Killing of a Sacred Deer (A24)

Let’s catch up: Behold a list of (mostly) fantastic films I have watched recently.  (Embarrassed to admit that many of these were a first time watch– SO late to the party.)  Regardless– even though each and every one of these deserves an individual, in-depth, analytical review– for the sake of time, I’ll sound off some quick thoughts about each film, and why you should catch up with these jewels (or yell at me because I hadn’t seen many of these until recently.)

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‘Sadistic Intentions’ is another awesome heavy metal + horror film pairing (Originally published for NightmarishConjurings.com)

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Genre standout Jeremy Gardner is gold as a conflicted metal musician in Sadistic Intentions

The original post can be found here.

From Alice Cooper’s and Black Sabbath’s occult-inspired lyrics and gory theatrics, to Rob Zombie’s foray into directing his own features, to films like Trick or Treat, The Devil’s Candy, and Deathgasm— heavy metal and the horror genre have always gone hand-in-hand.  Both genres are known for (and celebrated) for pushing their material to the limits, often relying on violence and shock value for art.  But how far is too far?  With the latest heavy metal-horror film pairing, Eric Pennycoff’s SADISTIC INTENTIONS, we have a great time finding out just how far one jaded metal musician will go to achieve levels of creativity and inspiration for his music.

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