Top 20 of ’20 – Miss Mel

@melmoy

Read on for Miss Mel’s favorite 20 films of 2020, and here to take a look at Mr. Craiggors’.

Don’t forget to share your top films of the year with us in the comments, or on Twitter! Lots of overlap? Things we missed? Let’s chat!

20. Underwater

A group of researchers in the Mariana Trench are hunted by an unknown creature. I love me some alien creature feature even if this was an average entry into the canon.

19. The Rental

A pair of couples rent a home for a few days and feel something is watching them. This was a pretty confused tone and genre and ultimately fell a little flat but was interesting along the way.

18. Amulet

A homeless veteran is welcomed into a decrepit mansion by a woman and her aging mother. This one gets wild and a little weird but was fun with a fair bit of lingering dread.

17. The Lodge

A woman becomes snowbound in a mountain lodge with her husband’s children. This is some good atmospheric horror with some great actors and I love some isolation horror.

16. Blood Quantum

A group of First Nations people are immune to a zombie apocalypse. I enjoyed the concept but ultimately I don’t think zombie films, even socially conscious zombie films, are really my thing.

15. The Babysitter: Killer Queen

Two years after the first movie, Cole goes on a weekend vacation where the bloodbath starts again. This was fan service and much less charming and surprising than the original but it was fun to be back.

14. The Dark and the Wicked

A pair of siblings visit their childhood home to visit their ailing father. This feels like a couple other films I’ve seen before but it was a genuinely creepy ride through domestic hauntings.

13. Black Box

A single dad undergoes an experimental cognitive treatment for memory loss and finds himself questioning his identity and reality. Flatliners meets Jacob’s Ladder meets Get Out that’s a bit overstuffed and emotionally confusing at times but its characters really bring home the humanity of a fantastical story.

12. Relic

A woman suffering from dementia is taken care of by her daughter and granddaughter. This functioned both as a spooky psych thriller and creepy house story as well as a tale of the existential dread we have of losing our parents and our own eventual deaths.

11. I’m Thinking of Ending Things

A woman on the brink of breaking up with her boyfriend goes on a road trip to meet his parents. This is trippy and confusing as shit but is engaging and entertaining and makes me wish I had read the book first to experience it fully.

10. Vampires vs. the Bronx

A group of teenagers must protect their Bronx neighborhood from a gang of vampires. I love teen stories and I love vampires. This was a fun comedy horror film with a bit of commentary on gentrification.

9. The Invisible Man

A woman believes she is being stalked by her abusive ex-boyfriend who faked his suicide. An uncomfortable ride through the horrors of an abusive and toxic relationship that does a great job updating its premise.

8. Impetigore

A pair of woman travel to a rural village where one of them may have a dark past. International films have been killing it this year. This is creepy, shocking and unique and who doesn’t love skin puppets?

7. His House

Sudanese refugees believe something may be lurking in their new home. I was excited for this since I first saw trailers for it. This was a great combination of haunted house horror and real life tragedy.

6. Color Out of Space

An asteroid disturbs an otherwise peaceful New England farm and brings with it an alien terror. This is a wild ride of a classic Lovecraft that manages to hit on all cylinders when it comes to psychological horror, body horror, and Annihilation levels of alien-based science fiction.

5. The Platform

 A man wakes up in a social experiment known as “the hole,” where food distribution is heavily stratified. This dystopian, social horror film feels like something out of a Saramago novel and is at times hard to watch for its gore and brutality but it makes interesting political statements–if confusing ones–and manages an incredibly depressing tone.

4. Possessor

A corporate assassin infiltrates bodies to carry out hits and finds herself in a combative host. This concept might have made for a C grade thriller film in other hands, but Cronenberg delivers a psychedelic trip through the psychology of the body, identity, and how they interact to rival the works of his father.

3. Sputnik

A cosmonaut, who returned from a mission with a alien parasite, is held prisoner by the Soviet military. This film doesn’t do anything new in the genre or make any larger social or historical statements about its Cold War setting, but it’s an incredibly entertaining sci-fi horror film with charismatic humans at its core.

2. La Llorona

A genocidal former dictator is haunted by the ghosts of the Ixil people he murdered while confined to his house. Foreign language films are the future of horror. While domestic art house horror tells gripping social stories, this film–reminiscent of Beloved in the best ways–uses the tension of human tragedy to propel its horror forward.

  1. Host

A group of friends host a seance over Zoom during the pandemic and things take a turn. This was a delightful little project that utilized its context without relying or milking it. It’s not unique in either plot or medium conceit, but it was incredibly fresh and effectively entertaining.

Top 20 of ’20 – Mr. Craiggors

@craiggors

No question that 2020 will be remembered as being absolutely horrifying. It deserves nothing less than an excruciating, fiery death while the rest of us dance on its corpse in post-traumatic delirium/glee/drunken abandon. But the year will also, hopefully, be remembered as being horror-ful.

Sure, the COVID-19 pandemic derailed a number of major studio sequels like Candyman, Halloween Kills, and The Conjuring: The Devil Made Me Do It, as well as bumping back a number of highly anticipated original fare such as Saint Maud, Antlers, Last Night in Soho, and Malignant; but horror as a genre was far from deterred. Debut directors dropped movies that blew our minds and broke our hearts, streaming services filled the theatrical release gap in spades, and film festivals opened their doors to at-home audiences in hitherto unknown fashion. The result was that, against all odds, 2020 was one of the strongest years for horror in recent memory.

As such, narrowing this year’s offerings down to a best-of list proved extra difficult for both myself and Miss Mel. As such, we’ve forgone the traditional top 10 in favor of a Top 20…each! I suppose we could have been more savage and cut the lower ten, but come on, hasn’t this year been brutal enough?

Read on for my Top 20 Horror Films of 2020, and find Miss Mel’s list here.

20. Spiral

A somewhat familiar narrative that’s well acted, nicely shot, and offers a satisfying conclusion for those who are patient with it, Spiral was a commendable treat. I also loved seeing a same-sex male couple as the central characters, and even though I wish Malik’s backstory had been more fleshed out, it still resonated with me.

19. Freaky

Fun and flighty with plenty of giggly moments and a few that actually made me guffaw, but not quite as much substance as in Christopher Landon’s other playful slasher send-up Happy Death Day. The “clam jam” line makes up for absolutely everything, though.

18. The Hunt

An ultra-violent satire with an over-the-top premise that puts an interesting twist on The Most Dangerous Game. By casting “redneck deplorables” fighting for their lives against vegan NPR neoliberals, the film challenges and holds a mirror to us-vs.-them mentality. Thought-provoking if not always profound, and Betty Gilpin is absolutely delicious in the lead.

17. VFW

A futuristic dystopian low-budget siege film that features Stephen Lang kicking ass in a neon-soaked, grindhouse hellscape all set to a score that would make Carpenter jealous. Come ON, in what world would I not love this?

16. The Cleansing Hour

A chilling update to the possession sub-genre that plays out on the set of a vlogger-exorcist’s fake YouTube show. Cynical, creative, and quite shocking at parts, plus the much underused Kyle Gallner make this a win for me.

15. The Mortuary Collection

2020 was the Year of the Horror Anthology. Two of the three major ones are on this list (Scare Package just missed the cut). The Mortuary Collection is a creepy, atmospheric, gory blast. I was completely in love with the production design, and I firmly believe Clancy Brown needs to play The Tall Man in a Phantasm reboot.

14. Sea Fever

Great films are often those that understand exactly what they are and don’t try to be anything more, they just focus at excelling as themselves. Sea Fever is one such film. It’s icky and disturbing and doesn’t hold back. Alien meets The Thing meets Cabin Fever set on an Irish trawler. I mean, YO!

13. The Wolf of Snow Hollow

A darkly amusing genre mashup exploring toxic masculinity, fatherhood, and internal demons. I’m an admitted sucker for werewolf stories and this movie reminds me why. There’s some great comedic and horror beats, and the camera work is bursting with style and personality. It’s no Thunder Road, but Jim Cummings proves he’s still one fearless fucking filmmaker.

12. The Lodge

Paralyzing, agonizing, and very mean-spirited yet full of gorgeous cinematography and outstanding performances. Probably the most nightmarish film of the year as you really, really, really don’t want to see what happens next, but you can’t find a way out. Also? Fuck dem kids.

11. La Llorona

A quiet and tantalizing film that has less to do with the Latin American legend of the Weeping Woman and more to do with the inherited cultural trauma of the Guatemalan Civil War, La Llorona has stuck in my mind for months, and will continue to do so for many more.

10. Gretel & Hansel

An impressive update of the age-old Grimm fairy tale. It’s moody and heavy and packed to the gills with dread. It’s also aesthetically stunning and gorgeous and one of my new favorite Films-That-Use-Color-Expertly. Patient, meditative, and rich from start to finish.

9. Hunter Hunter

On the surface, the film appears to be any other run-of-the-mill survival story of a scrappy family living in the remote wilderness facing a roaming wolf on their land. But slowly it becomes clear that this film is…so much more. Horrifying, gripping, and unforgettable. And that ending is BRUTAL.

8. Relic

Haunting and heart-wrenching, this very slow burn mounts to a truly terrifying third act. Dynamite performances from Emily Mortimer and Robyn Nevin elevate a metaphorical story that mediates on grief and parental loss. Debut director Natalie Erika James doesn’t hold back or hold hands, and I’m very curious to see what she does next.

7. Anything for Jackson

Has there ever been a more sympathetic or likable pair of villains than the elderly couple at the center of Anything for Jackson? The answer is no, so props must be given not only to Julian Richings and Sheila McCarthy but also director Justin G. Dyck for bringing to life one of the unnerving, dark, and strangely humorous films of the year.

6. His House

Another outstanding 2020 debut feature. Director Remi Weekes effortlessly blends existential terror with the supernatural to craft a new sort of haunted house film that sticks in the mind and soul thanks to twisty, striking visuals and bravura performances.

5. Scare Me

Delightful. So freaking delightful. Easily the film that most surprised me this year, and one that genuinely stands out in a crowd. It’s minimalism done to a T, relying on sound, dialogue, and performance to frighten and entertain–and it works! Cozy, witty, and razor-sharp on its dissection of writing culture, an A+ for debut director/writer/star Josh Ruben and co-star Aya Cash.

4. The Invisible Man

A relentlessly uncomfortable viewing experience in the best possible way, Leigh Whannell updates the time-tested tale into a suspenseful exploration of domestic abuse, toxic masculinity, and resilience. A gut-punch of a film that weaponizes space and pushes psychological terror to the max to profound effect.

3. Host

Unquestionably the hottest horror film of 2020, Host will also be a perfect time capsule of its time. Made entirely in quarantine, it’s a brief, nail-biting little film-that-could that had everyone, myself included, jumping at shadows and small noises in the night. Not only will this be the film we all remember as the pinnacle of what it meant to live the horror of 2020, but its techniques will be imitated by filmmakers for years to come.

2. The Dark and the Wicked

Easily the most terrifying film of the year. A perfectly executed masterpiece of insidious sound design, shadow play, and suffocating dread all wrapped around some supremely disturbing visuals. It’s incredibly bleak, a different yet equally unsettling sort of nihilism perfected in director Bryan Bertino’s earlier creep-fest The Strangers.

  1. Possessor

Mind-bending, unflinching, and bizarre. Brandon Cronenberg follows up Antiviral with a film that is both homage to his father’s work and a showcase of his own sensibilities as a filmmaker. Everything about the film is slick and sleek, from the gory violence to the glorious aesthetic to the spellbinding performances. Cerebral and evocative and stunning, it takes the top spot for me this year for how unique and (you guessed it) possessive the viewing experience was.

Well, that does it for 2020–a truly solid slate of horror. Here’s to keeping up the creep in 2021! See you there, Chatterers!

31 by 31 Challenge #14: BAD MOON (1996)

@craiggors

There’s a fascinating movement that’s been happening in the horror community in recent years wherein fright freaks are reevaluating movies from the early to mid-1990’s, long considered horror’s bleakest period in terms of quality film, and finding things to love in once universally panned films. Bad Moon is one such film for me, though I always loved it back in the day. I’m thrilled to see it find more cheerleaders now, not because it’s a game-changing revolutionary werewolf film, but because it’s heaps of fun and with the right audience, can be absolute viewing perfection.

Globe-trotting photographer Ted (Michael Pare) is romping around in the steeped forests of Nepal when he’s attacked by a werewolf. Upon returning home, Ted secludes himself in a trailer near the mountain home of his sister Janet (Mariel Hemingway) and nephew Brett (Mason Gamble). As Ted and Janet begin to reconnect, mutilated bodies begin appearing in the woods and Thor, the family dog, takes an instant dislike to Ted, attempting to warn the family that something is very, very wrong.

The werewolf is one of the most complex and layered monsters in horror, yet the werewolf film has proven an elusive beast to tame. Bad Moon is by no means the gold standard for the sub-genre, but it understands that at their core, werewolf stories are about tragedy. This movie gives that tragedy an interesting spin in that Ted, the victim-turned-monster, isn’t our tragic figure–he embraces his newfound violent tendencies all too easy and eagerly–but the family unit threatened by forces supernatural and as close to home, or kennel, as could be. The inherent sadness of the film is not Ted’s transformation from man to beast, but that of a family just on the brink of reconciliation and happiness being torn apart and subjected to grief and trauma at the hands of one of their own.

The true standing power of Bad Moon is in the creature effects, however. Being that it was the 90’s, all the effects are practical, of course, and it’s truly stellar costuming and makeup, courtesy of Steve Johnson. The werewolf is hulking, feral, and gnarly. It’s a pure reflection of the earliest, most brutal werewolf myths that emphasized the savage nature of the monster. The werewolf is the ultimate killer, and each attack and mauling is appropriately gory, none more so than the opening scene, an in-your-face juxtaposition of sex and violence that was rare to see in 90’s horror flicks after the MPAA came down hard on that sort of the thing in the late 80’s. The film is all the better for it, however; a bold promise on what the rest of the movie has in store.

Bad Moon is not an everyman’s horror film, but just because it was overlooked and undervalued in 1996 doesn’t mean it’s a bad movie. There’s plenty to love here for those that appreciate top notch practical gore and creature effects, an assured sense of story, and gorgeous scenery all packed into a neat runtime. A victim of an era when werewolf and monster films, hell even horror in general, were struggling to find an audience, this onetime runt is perfectly primed to lead the pack.

Bad Moon

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #11: THRILLER (2018)

@craiggors

Earlier this year, Netflix surprise-dropped several low profile horror films from Blumhouse. Such a strategy is always a gamble, but it can occasionally pay off, as in the case of Mercy Black, which dropped at midnight and hooked viewers with its eerie, Slender Man-esque story and glossy visuals. Less successful was Thriller, a standard slasher that gets caught up in it’s own mechanics and forgets to actually slash until it’s too late.

In South Central LA, a group of middle schoolers lures a shy outcast into an abandoned home in order to play a cruel prank. Chauncey, the loner, is sweet and crushing on Lisa, the only vaguely nice girl out of the group of popular kids. She’s reluctant to punk Chauncey, but is pressured to go along with the gag anyway. When the prank goes awry and results in someone’s death, the group bands together and pins the accident on Chauncey, who is sent to a juvenile detention center. Four years later, Chauncey is released and the pranksters, now seniors about to enjoy their Homecoming weekend, find themselves getting sliced and diced by a masked killer.

There’s a lot of time spent establishing who’s who in this film. It’s made especially challenging because the group of kids that pull the prank is unnecessarily large, and they’re all recast with older actors after the opening time jump. Many of the characters fit into slasher stereotypes as well and could easily have been combined for digestibility, but this may be because Thriller quickly pushes the horror to the background in favor of a social study on what it means to grow up in a neighborhood like Compton and how that affects young residents. For almost an hour, we explore how some characters seek to escape their home streets, and their various plans for doing so, while others have decided to embrace the roughness and the hard life as a means to either survive or thrive. These are interesting ideas to explore, and getting to spend time with our characters helps break down some of those tropes and make them more human so that when the killing does start happening, the audience feels each death.

The trouble is that most of the kills happen off screen, and a bloodless slasher is a boring slasher. Combine that with a group of unseasoned actors who can’t sell their characters and the result is a watered down fright flick that leaves little to be desired. Final Girl Lisa (Jessica Alain) is bland, receiving the least amount of development despite being our focal character. Chauncey (Jason Woods) is all brute and no brain, a revenge-fueled monster without layers, and Kim (Pepi Sonuga) is a sweet party girl chasing a local rapper that only has a personality disorder in which she speaks in the distorted voice of her dead sister. Huh? It’s all too strange, or familiar, to have any real impact, and genre fans will be able to call every expected turn before it happens, all the way up to the final, lackluster finale.

Unfortunately, Thriller‘s uninspired title is an accurate reflection of it’s uninspired plot. What could have been a nuanced, updated, urban version of Prom Night (1980) instead fizzles as a generic “seen it before” slasher. I have to wonder if first-time director Dallas Jackson originally envisioned an entirely different type of movie, given how much time is spent exploring the daily lives of these characters, and if the horror element was shoehorned in during later stages of writing/development. I’m not sure what the story there might be, but I have to assume that it’s far more thrilling than the result.

Thriller

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #10: CHOPPING MALL (1986)

@craiggors

I think the moniker “cult film” gets thrown around a bit too much these days, but when it comes to Jim Wynorski’s Chopping Mall there is no more fitting description. The fandom surrounding the movie alone puts the majority of other cult films to shame, and you’ll struggle to find a more ridiculous yet oddly charming premise than than of a state-of-the-art mall security system featuring three robots that go berserk thanks to a freak lightning accident on the night a group of teens are trespassing. I mean, come on.

In order to cut down on rime and deter thieves, Park Plaza Mall has installed a new, high tech security system featuring alarms, steel doors, barred windows, lock-down procedures, and three pudgy black robots equipped with lasers and tasers. On the night they’re installed, four teenage couples plan to hide out in a furniture store until the coast is clear and then wild out in all the ways you’d expect 80’s teens to get down. The trouble is, the robots’ safety functions have been rewired by a lightning storm and now instead of patrolling to protect, they’re hunting to kill.

As much as Chopping Mall is a cult film–which it certainly is–it is also something else that contemporary audiences don’t see too much of being made these days: a party film. It’s the ideal movie to watch with a group of friends, yummy snacks, and your chosen libation as you revel in the absurdity and embrace the B-movie brilliance. And there truly is lots to embrace, unironically. Kelli Maroney and Barbra Crampton lead a pack of game actors and they’re both fantastic. Maroney in particular had an underrated, under-the-radar career and it’s nice to see her get a moment in the spotlight in this film as the nerdy, prim new face turned badass final girl.

There’s also the nostalgic appeal of mall culture, which was at its heyday at the time the movie was made; a culture that has drastically diminished if not altogether vanished in the age of Amazon. If you ate up the third season of Stranger Things and wanted more, Chopping Mall will scratch that itch. Gone are the days where shopping was an experience, an outing that was combined with the plink-plunk of the arcade, free samples at the food court, and bizarre, brightly colored stage shows in the middle of everything. If you miss such times, or at least remember them fondly, Chopping Mall is the goofy portal back to that era you’ve been missing.

Look, no one out there is grumbling that Platoon unjustly stole the Best Picture Oscar from Chopping Mall in 1986 (although you could make a case for Children of a Lesser God, but I digress). It’s a fun, silly movie that the filmmakers, cast, and fans are all completely aware is absolute nonsense. But that’s the joy of Chopping Mall. Much like the mall culture the movie itself so perfectly encapsulates, the film is a relic of a bygone age, but one that still has champions and new converts in our modern era. You’ll be hard-pressed to find a better popcorn movie for your Halloween get-together, so give it a watch. You’ll really just have the nicest day.

Chopping Mall

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #9: THE MANGLER (1995)

@craiggors

Adapting a Stephen King story is a tricky business. Despite the number of King’s tales that have been shifted from page to screen, Hollywood hasn’t quite pinned down a formula for how to make a successful King film. By and large, the general rule seems to be that if you want to tilt the scales in your favor, it’s best to stack the deck with horror royalty. Think Romero taking on Creepshow (1982) and The Dark Half (1993), or Carpenter with Christine (1983). Following that logic, a film directed by Tobe Hooper and starring Robert Englund and Ted Levine should be a complete blockbuster. But logic has failed us here.

The prize machine of the Blue Ribbon Laundry service is a monstrous device known as the mangler. It’s a dangerous press, but safety regulations seem to be the least concern of factory owner Bill Gartley (Englund). When an accident involving Gartley’s niece Sherry (Vanessa Pike) splashes blood onto the mangler, the sinister clunker appears to come to life, and it’s out for blood. Officer John Hunton (Levine) gets involved in the case when another worker dies, and he turns to his demonologist brother-in-law Mark (Daniel Matmor) when events at Blue Ribbon begin to defy earthly explanation.

There’s a decent amount to work with when it comes to The Mangler. As in the original short story, collected in Night Shift, there’s a commentary on American capitalism and gluttonous consumerism, specifically in how the working class is sacrificed in the name of dollar signs, and how the bodies of young women are exploited and abused with ease and encouragement in a patriarchal society. And then of course, a demonic laundry press comes to life and literally chases our heroes through an M.C. Escher hellscape because of some blood and a few antacids. It’s two completely different films. One half, the horror comedy headed by Englund in his droopy prosthetics and half-man/half-machine ensemble, is fun and goofy. The other half is a strange neo-noir tale with Levine moaning and groaning and carrying the weight of the cruel, unjust working world on his ever-so-broad shoulders.

What The Mangler gets wrong is trying to give equal weight to these two different stories being told. The safer bet would have been to embrace the inherent ridiculousness of the plot and go all in on the black comedy angle, much in the way that Carpenter does with Christine. In attempting to balance the humor with melodrama, Hooper creates a film that just doesn’t gel. It looks great–the sets are full of grime and slick muck and lazy steam and you can feel the woe and corruption practically pulsating in the walls–but visuals aren’t enough to save a disjointed narrative.

Short stories don’t always work when told in longer format, but there’s enough in The Mangler that could have made for an interesting feature. Small town elites sacrificing their virginal daughters could have been played up, as well as the more serious themes of corruption, greed, and misogyny. Perhaps Hooper didn’t want to strike out too far from King’s original work. The direction is often hesitant, as though he knew he had to choose between black comedy and melodrama but couldn’t commit. Unfortunately for him, and the viewer, neither half is strong enough to stand on its own and instead we’re left with something a bit more, well…mangled.

The Mangler

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #8: GAGS THE CLOWN (2018)

@craiggors

As we inch further and further into the twenty-first century, it’s only appropriate that horror movies and their marketing becomes increasingly more meta. Such is the case with Gags the Clown, whose origin began in the wave of clown sightings across America in 2016, particularly in Green Bay, Wisconsin. While at first it seemed people were being stalked by a genuine nut job in a clown suit, it soon came out that the sightings were staged promotion for an upcoming killer clown movie. This killer clown movie.

Pictures and video of a macabre-looking clown known only as Gags have been consuming the citizens of Green Bay. Gags seems to appear and disappear at random, holding aloft a quarter of black balloons and looking anything but cheerful. The city is rapidly falling into mass coulrophobia. Mischievous pranksters are taking advantage of the fear to cause mischief, parents are unwilling to let their children out at night, and the police have their hands tied as Gags hasn’t committed any actual crime. It’s under these circumstances that a few locals (some teens, a TV news reporter, and a right-wing podcaster) decide to take matters into their own hands. But when it comes to Gags, those black balloons are the least of your worries.

As you may have guessed, Gags is a found footage film, and the tactic works well here, especially when it comes to heightening the tension and highlighting the fear that’s strangling this community. The story bounces between four distinct groups, none of whom have complete knowledge of what’s really going on until the narrative threads converge at the climax. Director Adam Krause knows how to keep the story moving and feel fresh, even if the characters are as stale and musty as the inside of Gags’ clown suit. This would be less of a crime if there were more scares, but aside from the prologue and a few creepy moments in the first half, Gags holds back a lot for the majority of the film.

There are scattered moments throughout that really work, however; it’s most effective when the viewer begins to realize that the threat Gags poses is not as simple or mundane as a madman in makeup. The unnatural manner in which Gags operates adds a very different, very uneasy angle to the standard story of a dangerous clown. This is enhanced by a strong sense of foreboding in the film’s atmosphere, and competent camerawork. A lot of the sequences, particularly towards the end, blend together different means of recording to create a seamless sense of despair while also keeping hold of the story. It must have been a bitch to edit.

Found footage, as I’m sure we all know, is a tricky medium and sub-genre to get right. Gags the Clown doesn’t fail by any means, but it also doesn’t get the gold star. The weird, absurd finale is dark and goofy, but somewhat off-kilter for what came before. It’s an apt representation of the film as a whole, I think. There are bubbles of strange enjoyment, but in between is murky confusion populated with paint-by-numbers characters. Still, it’s good for a laugh. Even if that laugh is more of a retching cough.

Gags the Clown

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #6: HELL NIGHT (1981)

@craiggors

An ear-piercing scream worthy of consideration for the Jamie Lee Curtis Scream Queen Award (that I just made up). Party-going teens in costume. A pitch black night where anything and everything can go wrong. This is the opening to Hell Night, a once forgotten slasher that failed to attract on its debut, but is far more unique than its basic premise and rote setting would suggest.

It’s Hell Night at the local college, a night of debauchery and ritual hazing meant to induct nubile young co-eds (played by actors clearly pushing thirty, obviously) into Greek life. King of frat life Peter (Kevin Brophy) leads four likable teens to nearby Garth Manor, a Victorian mansion left locked and vacant since the brutal slaughter of the entire family by the deranged father, and the disappearance of the deformed youngest son. If Marti (Linda Blair), Jeff (Peter Barton), Seth (Vincent Van Patten), and Denise (Suki Goodwin) can survive the night alone in the massive house, they’ll be initiated into Alpha Sigma Rho. But as they’ll soon find out, Garth Manor isn’t as empty as it first appears.

Hell Night did not premiere to great fanfare or box office success. Even in 1981, the newly minted slasher genre was overflowing with Halloween (1978) knockoffs and Friday the 13th (1980) copycats. Some of them, like Prom Night (1980) stood out from the crowd, while others floundered. There was just too much competition. It’s a shame, because despite Hell Night‘s paint-by-numbers premise, it’s not quite as cookie cutter as we might think. Take Peter’s monologue explaining the mythology of the house and the massacre that occurred there, for example. In most slashers, that speech would be accompanied by a gauzy flashback where we see the murders committed in pantomime, but not here. Instead, it’s straight dialogue. The film trusts it’s audience to fill in the blanks themselves, a brilliant tactic.

Sure, there’s still lots of slasher tentpoles present. Sex, drugs, isolated locations stalked by a mythic maniac. But then there’s the Gothic set dressing of the manor, an unusual choice for a slasher, which as a rule catered to contemporary teen audiences and moved away from anything too grand or eccentric. It makes the film feel a bit Poe-ish, which is a surprisingly nice touch amidst the standard silliness. Equally unusual for a slasher, there’s no nudity involved in the more titillating scenes. Instead, the film earns its R rating based solely on the violence and though it takes awhile to build to the slice-and-dice, when the kills do happen, they’re quite creative.

Hell Night isn’t Halloween, and that’s okay. It’s not trying to be–and that’s what makes it so fun. Director Tom DeSimone knew his audience, and you can tell the cast did as well. The result is an ideal sleepover movie best watched in early autumn with a heavy blanket, some popcorn, and a mug of warm cider. Snuggle up and give it a watch, you won’t regret it. This I pledge.

Hell Night

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #5: TIGERS ARE NOT AFRAID (2017)

@craiggors

One of the buzziest releases of the year, Issa López’s Tigers Are Not Afraid is a haunting, dark fairy tale that uses striking cinematography and dynamite special effects to explore childhood trauma through the lens of magical realism. It’s a film unafraid to go to dark places and dig in deep, showcasing a kind of horror that is at once all too real and the stuff of our worst collective nightmares: the violent death of children.

Estrella (Paola Larsa) is a young girl living with her mother in a city gutted and devastated by the Mexican Drug War. When her school is shot up during a gang skirmish, Estrella is gifted three pieces of magical chalk by her teacher. Each piece will grant her one wish. After her mother vanishes, Estrella uses her first wish bring her back, unaware of what she has awoken. Estrella’s mother does indeed return, only as a terrifying specter of her former self, causing Estrella to take to the streets and join up with a coterie of homeless boys led by cynical, traumatized Shine (Juan Ramon López). In them, Estrella finds friendship, protection, and a chance to uncover what really happened to her mother.

Tigers is stuffed to the gills with talent, from the lovable and believable child actors to the smooth, succinct script that not only blends the fantastical with gritty reality, but also balances full-body terror with moments of heart and humor. The production design is also breathtaking, and the special effects used to create the wraith-like ghosts and Shine’s graffiti tigers blend seamlessly into the real, an impressive fear given the film’s relatively modest budget.

You’d never know that Tigers was made on the cheap, so rich and well crafted is the atmosphere and the techniques used to bring the story to life, often to chilling effect. The makeup of the undead ghouls that shadow Estrella, and the swerving, seemingly sentient trail of blood that slithers and snakes behind her after her first wish unnerve and unsettle, leaving us squirming with visions of horrific deaths and a pervading sense of wrongness. Combine all this with an excellent cast perfectly attuned to their roles and the result is one of the year’s most essential films.

Tigers Are Not Afraid is a magical, momentous film that uses its supernatural elements not for cheap jump scares, but to heighten the human drama at the center of the story and the question of how desperate children survive in a dangerous and violent world when stripped of their support networks. As such, it is a tale of resilience and defiance in the face of destruction–as the film’s ominous and menacing tone make clear–but it is also about the power of hope that can be sparked in a shared human experience, and the transcendent magic that can arise if that spark is fueled properly. See this film at your earliest convenience. Find your chalk. Don’t be afraid.

Tigers Are Not Afraid

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

31 by 31 Challenge #4: THE PERISHED (2019)

@craiggors

For decades, unmarried women who got pregnant in Ireland were sent to “mother and child homes” sponsored and run by the Catholic Church where they were kept out of sight of “polite” society and, presumably, made to atone for their most grievous of sins. The reports surrounding the conditions and practices of these homes are sickening at best and appalling at worst, including hundreds of bodies of children found in a mass, unmarked grave. This is the backdrop against which writer and director Paddy Murphy sets this personal and piercing, if somewhat muddled, film.

Sarah Dekker’s (Courtney McKeon) life is upended when she discovers that she’s pregnant. Before she can tell either her boyfriend Shane (Fiach Kunz) or her parents (Conor Lambert & Noelle Clarke), however, Shane breaks up with her and her strict Catholic mother finds the positive pregnancy test and promptly kicks her daughter out of the house. Unable to face life as a single mother, Sarah goes to England for an abortion, then returns and recuperates in the country home of her friend Davet (Paul Fitzgerald). What neither of them know, however, is that the house is actually the site of a mass infant grave, and Sarah’s presence has awoken the unsettled spirits of the lost children, desperate for a mother.

The Perished is meant to be a slow-burn, so much so that the first quarter of the film feels more like a social drama. It’s great set-up, though, as when the moments of horror start creeping in, the viewer feels their unease all the more. As Sarah is coping with her choice, the remains of her life, and the loss of her most important relationships, something sinister is building around her. Something marked by tiny cries that only she can hear, and visions of a ghoulish monster that would make Clive Barker proud.

As the tension builds, those potent beats that provide insight into character and motive give way to monster moments and body horror. As we push towards the climax, that oh-so-specific kind of guilt that hangs over Sarah, and blankets the film itself, transforms into a a more straightforward type of horror as Sarah’s body begins to show signs of a second, more advanced pregnancy, and the monstrous avatar of the murdered babies comes out in full force. It’s an interesting choice as while the creature effects are phenomenal and truly would heighten any latter Hellraiser film, the viewer doesn’t feel the same sense of palpable dread that we felt early on when Sarah was cast out by her own family and the resulting trauma.

There’s a question of scope and scale when it comes to this film, I think. It’s an enormous and heavy subject matter to tackle, and I applaud the filmmakers for being unafraid to journey into the dark, but I found myself confused by the ultimate message of the film in the end. By all accounts, the film is championing choice, tolerance, and self-care. The heartbreaking title cards that bookend the film drive home the real-world horrors surrounding these issues in Ireland, and the discrimination faced by women who have made the choice to have an abortion. It’s also clear that church and state alike have contributed to and supported these actions and stigmas, and I would have liked to have seen a stronger critique of those institutions for allowing these crimes to occur. As it stands, the events that unfold at the house seem to be punishing Sarah rather than the true culprits, which skews the message a bit. Sarah has chosen not to be a mother at this particular moment in her life, but in the end is forced to become one by the perished. Is this her penance? It’s unclear.

The Perished is a brave, honest movie that takes on taboo subjects and weighty, real life topics. A solid start and creepy middle lose steam in the final act, where characterization and historical importance take a backseat for some admittedly excellent gore and creature effects. It’s clear that Murphy is a talented filmmaker to watch, however. The film shows his skill at navigating depth, tone, and tension. He clearly knows what’s horrifying. It may just be that he’s taken on something too terrifying, or too grand, here, but you can feel the effort behind his storytelling. And with that kind of passion driving him, I’ll be first in line to see what comes next.

Many thanks to Celtic Badger Media for a screener in exchange for an honest review.

The Perished

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror