Hillbilly horror stories aren’t new. Culturally we place our collective fears on the outposts or wild places of the world. Films like Deliverance, The Texas Chainsaw Massacre, The Hills Have Eyes, Wrong Turn, and a million other horror or horror adjacent movies work within this conceit. Chad Crawford Kinkle's Jug Face (2013) operates in an in-between... Continue Reading →
Death in a Small Town
Tobe Hooper’s television miniseries Salem’s Lot is an interesting example of the new horror of the seventies interacting with more traditional horror elements, which emphasized Gothic settings like haunted mansions, traditional monsters like vampires and scares built on suspense rather than brutality. Translated from Stephen King’s book about a tiny New England town slowly overrun... Continue Reading →
Fathers and Daughters
Fear is an open-ended question, and perhaps one of the essential fears of childhood is parental abandonment. Oz Perkins’s film The Blackcoat’s Daughter (2015) describes both a spiritual and emotional type of abandonment. The movie begins at a girl’s Catholic school during holiday break. The atmosphere of the school is desolate, the snow of upstate... Continue Reading →
Send in the Clown
There’s a strange allegory in the new adaptation of Stephen King’s coming of age story It. I don’t understand exactly what that allegory actually is. I know what it should be, that the alliances we make as children are purer in some ways than the one’s we make as adults. That childhood phobias, fears, and... Continue Reading →
Mythic Love
We live in a post-romance era, when sentiment or lust is mistaken for the sensations of the heart. Yet co-directors Justin Benson and Aaron Moorhead’s Spring describes a love and a movie for the ages. Horror is not a genre one thinks of when considering great love stories and yet that’s what the directors bring... Continue Reading →
The Texas Chainsaw Tribute
Death in the cinematic universe of Tobe Hooper is seldom mundane. People meet their end via meathooks, chainsaws, a soul sucking alien succubus, and homicidal aligator. The departure of Tobe Hooper last week at the age of seventy-four was not mundane either, it came as a surprise as death always does when an artist universally... Continue Reading →
The Candy Everyone Wants
Music is a means of suggestion, a way for sensations, notes, voice and stereophonic sound to affect individual consciousness as a group. Sean Byrne’s The Devil’s Candy uses heavy metal as a means to show how art can both divide and unify a family. The most impressive thing about this film is not the scares... Continue Reading →
What Strange Eyes You Have Mother
Cinema heightens and emphasizes, so that in the right hands it can transform the brutality of a death into an object of art. However, the medium still has to uphold the aesthetic precision of formal art. For every pastel rich portrait of murder like Dario Argento’s Suspiria, there are clumsily shot and purposeless gruesome films,... Continue Reading →