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[title] => A Halloween list of those filmed in Florida
[link] => https://mov.movs.world/scream-away/a-halloween-list-of-those-filmed-in-florida/
[dc] => Array
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[creator] => Harry World
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[pubdate] => Sun, 20 Feb 2022 20:06:46 +0000
[category] => Scream AwayfilmedFloridaHalloweenList
[guid] => https://mov.movs.world/?p=43427
[description] => There’s still time to get your spook on before Halloween wraps up the month. Florida has served as the perfect backdrop for many terrifying films. The Sunshine State also has produced some in the film industry who have gone on to scare us with their work on the big screen. Here’s some movies to watch ... Read more
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There’s still time to get your spook on before Halloween wraps up the month.
Florida has served as the perfect backdrop for many terrifying films. The Sunshine State also has produced some in the film industry who have gone on to scare us with their work on the big screen.
Here’s some movies to watch at night with the lights off, all with some tie to Florida.
Instant classic:The Blair Witch returns to scare Cape Coral with director Dan Myrick
More on Florida movies:What are the best Florida movies? Here are 25 of our favorites primarily set and shot here
‘The Blair Witch Project’ (1999)
This classic supernatural horror movie wasn’t filmed in Florida, but a state native had a key role in creating it.
Florida native Daniel Myrick directed and wrote it along with Eduardo Sánchez. The fictional story (which many when they first watched it thought the film seemed all too real) follows the story of three student filmmakers hiking in Maryland.
They shot ?The Blair Witch Project? for $60,000 and the movie went on to earn $248 million at the box office.
Born in Sarasota, Myrick grew up in Fort Myers and studied film and graduated from the University of Central Florida.
Myrick has said the movie has “got sort of a timeless quality to it.”
“It?s not a big polished Hollywood movie,” he told the News-Press in Fort Myers earlier this year. “It sort of represents that, look, if you?ve got a good concept and good execution and not a lot of money, you can make something happen.?
‘Cape Fear’ (1991)
Robert De Niro stars, and the brilliant Martin Scorsese directs the psychological thriller “Cape Fear.”
But Florida stars too, with scenes filmed in Fort Lauderdale, nearby Dania, the Everglades and other parts of the state.
The film is about a convicted rapist who seeks vengeance against a former public defender he blames for his imprisonment.
De Niro received an Academy Award nomination for Best Actor, as did actress Juliette Lake Lewis (who played the lawyer’s daughter) for Best Supporting Actress.
Neither won an Oscar, but the film received solid reviews and is downright scary at times, heralding the brilliance of Scorsese’s movie-making skills.
‘Day of the Dead’ (1985)
Long before there was the popular television series “The Walking Dead,” there was “Day of the Dead.”
This American post-apocalyptic zombie horror film was filmed primarily in Southwest Florida, including scenes filmed on Sanibel Island and in the streets of downtown Fort Myers.
In the film, survivors of a zombie apocalypse shelter in an underground bunker in Florida, where they try work to ensure survival of the human race as zombies try to track them down.
It was the third and in director George Romero‘s “Night of the Living Dead” trilogy.
‘The Devil’s Advocate’ (1997)
A hotshot Gainesville lawyer heads to the Big Apple in a career move.
Florida figures prominently, with scenes filmed in Gainesville and Jacksonville, including a downtown courthouse.
‘Creature from the Black Lagoon’ (1954)
If you’re up for a more nostalgic scary flick, watch the black-and-white “Creature from the Black Lagoon” that hit movies houses 67 years ago.
The plot follows scientists who encounter an amphibian-like “Gil-man” in the Amazon. Certainly a bit cheesy compared with today’s technologically advanced films, “Creature” has endured along with other monster classics.
Dave Osborn is the regional features editor of the Naples Daily News and News-Press. Follow him on Instagram @detroitdave88 and on Twitter @NDN_dosborn.
We wish to say thanks to the writer of this write-up for this remarkable material
)
[summary] => There’s still time to get your spook on before Halloween wraps up the month. Florida has served as the perfect backdrop for many terrifying films. The Sunshine State also has produced some in the film industry who have gone on to scare us with their work on the big screen. Here’s some movies to watch ... Read more
[atom_content] =>
There’s still time to get your spook on before Halloween wraps up the month.
Florida has served as the perfect backdrop for many terrifying films. The Sunshine State also has produced some in the film industry who have gone on to scare us with their work on the big screen.
Here’s some movies to watch at night with the lights off, all with some tie to Florida.
Instant classic:The Blair Witch returns to scare Cape Coral with director Dan Myrick
More on Florida movies:What are the best Florida movies? Here are 25 of our favorites primarily set and shot here
‘The Blair Witch Project’ (1999)
This classic supernatural horror movie wasn’t filmed in Florida, but a state native had a key role in creating it.
Florida native Daniel Myrick directed and wrote it along with Eduardo Sánchez. The fictional story (which many when they first watched it thought the film seemed all too real) follows the story of three student filmmakers hiking in Maryland.
They shot ?The Blair Witch Project? for $60,000 and the movie went on to earn $248 million at the box office.
Born in Sarasota, Myrick grew up in Fort Myers and studied film and graduated from the University of Central Florida.
Myrick has said the movie has “got sort of a timeless quality to it.”
“It?s not a big polished Hollywood movie,” he told the News-Press in Fort Myers earlier this year. “It sort of represents that, look, if you?ve got a good concept and good execution and not a lot of money, you can make something happen.?
‘Cape Fear’ (1991)
Robert De Niro stars, and the brilliant Martin Scorsese directs the psychological thriller “Cape Fear.”
But Florida stars too, with scenes filmed in Fort Lauderdale, nearby Dania, the Everglades and other parts of the state.
The film is about a convicted rapist who seeks vengeance against a former public defender he blames for his imprisonment.
De Niro received an Academy Award nomination for Best Actor, as did actress Juliette Lake Lewis (who played the lawyer’s daughter) for Best Supporting Actress.
Neither won an Oscar, but the film received solid reviews and is downright scary at times, heralding the brilliance of Scorsese’s movie-making skills.
‘Day of the Dead’ (1985)
Long before there was the popular television series “The Walking Dead,” there was “Day of the Dead.”
This American post-apocalyptic zombie horror film was filmed primarily in Southwest Florida, including scenes filmed on Sanibel Island and in the streets of downtown Fort Myers.
In the film, survivors of a zombie apocalypse shelter in an underground bunker in Florida, where they try work to ensure survival of the human race as zombies try to track them down.
It was the third and in director George Romero‘s “Night of the Living Dead” trilogy.
‘The Devil’s Advocate’ (1997)
A hotshot Gainesville lawyer heads to the Big Apple in a career move.
Florida figures prominently, with scenes filmed in Gainesville and Jacksonville, including a downtown courthouse.
‘Creature from the Black Lagoon’ (1954)
If you’re up for a more nostalgic scary flick, watch the black-and-white “Creature from the Black Lagoon” that hit movies houses 67 years ago.
The plot follows scientists who encounter an amphibian-like “Gil-man” in the Amazon. Certainly a bit cheesy compared with today’s technologically advanced films, “Creature” has endured along with other monster classics.
Dave Osborn is the regional features editor of the Naples Daily News and News-Press. Follow him on Instagram @detroitdave88 and on Twitter @NDN_dosborn.
We wish to say thanks to the writer of this write-up for this remarkable material
[date_timestamp] => 1645387606
)
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[title] => 10 Upcoming Horror Movies to Look Out For After Scream
[link] => https://mov.movs.world/scream-away/10-upcoming-horror-movies-to-look-out-for-after-scream/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sun, 20 Feb 2022 18:42:23 +0000
[category] => Scream AwayHorrorMoviesScreamUpcoming
[guid] => https://mov.movs.world/?p=43374
[description] => The world of horror started 2022 off right with the latest entry of Scream being the first breakout hit of the year. The fifth Scream film, directed by Tyler Gillett and Matt Bettinelli-Olpin, has garnered a lot of acclaim from critics and fans alike, and earned a lucrative $50 million domestic gross so far. It ... Read more
[content] => Array
(
[encoded] =>
The world of horror started 2022 off right with the latest entry of Scream being the first breakout hit of the year. The fifth Scream film, directed by Tyler Gillett and Matt Bettinelli-Olpin, has garnered a lot of acclaim from critics and fans alike, and earned a lucrative $50 million domestic gross so far. It was filled with wild moments that shocked fans and paid homage to the franchise?s legacy established by the legendary Wes Craven. Horror fans have already been treated with a great return for Ghostface, but he isn?t the only iconic slasher character headed to screens in 2022.
RELATED: Radio Silence Details Their Journey from “Director’s Jail” to ‘Scream’ Success and Beyond
Horror fans will see the return of more notable franchises and slashers than ever before as Blumhouse and director David Gordon Green cap off their Halloween trilogy with Halloween Ends, and some big streaming services resurrect dormant franchises. Plus, there are plenty of fresh, original films and adaptations slated to create new stories that horror fans can obsess over. Scream was just the start of 2022?s strong horror slate and there are plenty of familiar faces, both in front of and behind the camera, making a grand return.
?Texas Chainsaw Massacre?
Image via Netflix
Leatherface is revving up his chainsaw once more and slashing onto a new platform as Netflix?s new Texas Chainsaw Massacre movie, set as a sequel to the original, releases on February 18th.
This new entry is produced by Don?t Breathe creators Fede Alvarez and Rodo Sayagues and sees the return of both Leatherface and Sally Hardesty, now played by Mark Burnham and Olwen Foure, respectively. Leatherface, dubbed Old Man Leatherface here, hasn?t been seen since the heavily maligned 2013 reboot, so fans are expecting some bloody kills and a strong return for one of the horror genre’s most notable killers.
COLLIDER VIDEO OF THE DAY
?X?
Tyler Gillett and Matt Bettinelli-Olpin aren?t the only V/H/S alums dropping a big horror flick in 2022 as director Ti West teams up with indie powerhouse A24 for his newest film X.
Through its story of an adult film crew finding disturbing secrets about the old couple whose farmhouse their filming in, X already looks like it could be one of the best horror offerings of the year. The film?s Texas Chainsaw Massacre inspirations are clear, and its premise is super original and full of horrifying potential that?ll be unleashed into theaters on March 18th.
?The Black Phone?
The duo behind Sinister and Doctor Strange, director Scott Derrickson and writer C. Robert Cargill, reunite with Blumhouse for their adaptation of Joe Hill?s 2004 short story The Black Phone.
The film?s story of a young boy trying to escape a masked killer with the help of his past victims shows a great blend of coming-of-age storytelling and suspenseful horror. It?s visually reminiscent of Sinister?s eerie home video vibes and has already garnered immense praise from its premiere at Fantastic Fest, so it?s set to be a breakout summer horror hit when it hits theaters on June 24th.
?Nope?
The next horror film from Jordan Peele, Nope, is set to release on July 22nd and although not much is known about it, there?s a lot to be excited about.
RELATED: Jordan Peele’s Nope: Release Date, Cast & Everything We Know So Far
With Get Out and Us being resounding hits, a new horror film from Peele, regardless of what it is, instantly makes it a major release ? especially when the cast has the likes of Keke Palmer, Daniel Kaluuya, and Steven Yeun. A trailer has to be just around the corner, but the cryptic teases have offered enough reasons to be excited about it.
?Salem?s Lot?
Image via CBS
After a brief absence, the modern era of Stephen King adaptations returns on September 9th with Annabelle Comes Home director Gary Dauberman?s adaptation of Salem?s Lot.
The film follows a writer returning to his hometown to find that it?s being taken over by vampires and stars Lewis Pullman, Alfre Woodard, Pilou Asbaek, and Bill Camp. A new King adaptation should always be on a horror fan?s watch list and given the talent involved, Salem?s Lot could be a highly talked about adaptation.
?Dark Harvest?
Salem?s Lot isn?t the only horror movie currently set to debut in September as Black Mirror: Bandersnatch and 30 Days of Night director David Slade?s new film, an adaptation of Norman Partridge?s 2006 novel Dark Harvest, is slated to release around that time.
Based on the little we know about Dark Harvest; it looks like it could be a grand return to horror for Slade with its small-town mystery centered on a supernatural specter named Sawtooth Jack potentially providing the horror genre with a memorable horror killer.
?Halloween Ends?
Image via Universal Pictures
Blumhouse and David Gordon Green?s modern Halloween trilogy ends on October 14th with Halloween Ends possibly being the last bout between Jamie Lee Curtis? Laurie Strode and Michael Myers.
Halloween Kills left things on a tense and devastatingly bloody note, so the stage is set for a brutal final fight between Laurie and Michael that?s sure to tear through Haddonfield once again. It?s easily the biggest horror release of 2022 and one that horror fans can?t wait to see.
?Evil Dead Rise?
The Evil Dead franchise has had one of the best modern resurgences in the horror genre with the success of Ash vs. Evil Dead on the small screen, a new video game release on the horizon, and now, a new film from The Hole in the Ground director Lee Cronin for HBO Max.
RELATED: Bruce Campbell Says He’s Done Play Ash in Evil Dead Franchise
Evil Dead Rise will tell a new story in the Evil Dead universe, and while it was sad that Bruce Campbell confirmed that beloved protagonist Ash won?t be involved with his retirement of the character, Campbell and franchise creator Sam Raimi serving as producers shows the potential for Evil Dead Rise to continue the franchise?s resurgence.
?Prey?
Image via 20th Century Studios
Hulu is set to release a new film in the Predator series from 10 Cloverfield Lane director Dan Trachtenberg titled Prey sometime in 2022.
At this point, not much is known about the film since its ties to Predator were originally supposed to be a secret, but it is said to be a prequel to every film in the series capturing a Predator?s first journey to Earth. The cat might be out of the bag on Prey being a Predator movie, but that doesn?t mean it still can?t have some surprises up its sleeve in the form of some R-rated action-horror fun for fans.
?Hellraiser?
If you wanted another V/H/S alum to take on another beloved horror franchise in 2022, look no further than David Bruckner?s upcoming reboot ofHellraiser set to release on Hulu this year.
Given his recent work with The Night House, Bruckner could return the franchise to its psychologically haunting atmosphere and make it align more with Clive Barker?s original vision. This entry will also be the first time an actress is portraying the central cenobite, Pinhead, who will be played by Jamie Clayton, so fans should definitely watch out for the return of the cult classic horror franchise.
KEEP READING: Best Horror Movies on Netflix Right Now
It is almost time for Captain Marvel, Ms. Marvel, and Monica Rambeau to unite.
Read Next
About The Author
Tom Moore (24 Articles Published)
I am Tom Moore. I am a List Movies/TV Writer for Collider. I also write for The Pop Break, In Their Own League, Wrap Party Media, and my own blog Mooreviews.
More
From Tom Moore
We wish to thank the writer of this short article for this incredible content
)
[summary] => The world of horror started 2022 off right with the latest entry of Scream being the first breakout hit of the year. The fifth Scream film, directed by Tyler Gillett and Matt Bettinelli-Olpin, has garnered a lot of acclaim from critics and fans alike, and earned a lucrative $50 million domestic gross so far. It ... Read more
[atom_content] =>
The world of horror started 2022 off right with the latest entry of Scream being the first breakout hit of the year. The fifth Scream film, directed by Tyler Gillett and Matt Bettinelli-Olpin, has garnered a lot of acclaim from critics and fans alike, and earned a lucrative $50 million domestic gross so far. It was filled with wild moments that shocked fans and paid homage to the franchise?s legacy established by the legendary Wes Craven. Horror fans have already been treated with a great return for Ghostface, but he isn?t the only iconic slasher character headed to screens in 2022.
RELATED: Radio Silence Details Their Journey from “Director’s Jail” to ‘Scream’ Success and Beyond
Horror fans will see the return of more notable franchises and slashers than ever before as Blumhouse and director David Gordon Green cap off their Halloween trilogy with Halloween Ends, and some big streaming services resurrect dormant franchises. Plus, there are plenty of fresh, original films and adaptations slated to create new stories that horror fans can obsess over. Scream was just the start of 2022?s strong horror slate and there are plenty of familiar faces, both in front of and behind the camera, making a grand return.
?Texas Chainsaw Massacre?
Image via Netflix
Leatherface is revving up his chainsaw once more and slashing onto a new platform as Netflix?s new Texas Chainsaw Massacre movie, set as a sequel to the original, releases on February 18th.
This new entry is produced by Don?t Breathe creators Fede Alvarez and Rodo Sayagues and sees the return of both Leatherface and Sally Hardesty, now played by Mark Burnham and Olwen Foure, respectively. Leatherface, dubbed Old Man Leatherface here, hasn?t been seen since the heavily maligned 2013 reboot, so fans are expecting some bloody kills and a strong return for one of the horror genre’s most notable killers.
COLLIDER VIDEO OF THE DAY
?X?
Tyler Gillett and Matt Bettinelli-Olpin aren?t the only V/H/S alums dropping a big horror flick in 2022 as director Ti West teams up with indie powerhouse A24 for his newest film X.
Through its story of an adult film crew finding disturbing secrets about the old couple whose farmhouse their filming in, X already looks like it could be one of the best horror offerings of the year. The film?s Texas Chainsaw Massacre inspirations are clear, and its premise is super original and full of horrifying potential that?ll be unleashed into theaters on March 18th.
?The Black Phone?
The duo behind Sinister and Doctor Strange, director Scott Derrickson and writer C. Robert Cargill, reunite with Blumhouse for their adaptation of Joe Hill?s 2004 short story The Black Phone.
The film?s story of a young boy trying to escape a masked killer with the help of his past victims shows a great blend of coming-of-age storytelling and suspenseful horror. It?s visually reminiscent of Sinister?s eerie home video vibes and has already garnered immense praise from its premiere at Fantastic Fest, so it?s set to be a breakout summer horror hit when it hits theaters on June 24th.
?Nope?
The next horror film from Jordan Peele, Nope, is set to release on July 22nd and although not much is known about it, there?s a lot to be excited about.
RELATED: Jordan Peele’s Nope: Release Date, Cast & Everything We Know So Far
With Get Out and Us being resounding hits, a new horror film from Peele, regardless of what it is, instantly makes it a major release ? especially when the cast has the likes of Keke Palmer, Daniel Kaluuya, and Steven Yeun. A trailer has to be just around the corner, but the cryptic teases have offered enough reasons to be excited about it.
?Salem?s Lot?
Image via CBS
After a brief absence, the modern era of Stephen King adaptations returns on September 9th with Annabelle Comes Home director Gary Dauberman?s adaptation of Salem?s Lot.
The film follows a writer returning to his hometown to find that it?s being taken over by vampires and stars Lewis Pullman, Alfre Woodard, Pilou Asbaek, and Bill Camp. A new King adaptation should always be on a horror fan?s watch list and given the talent involved, Salem?s Lot could be a highly talked about adaptation.
?Dark Harvest?
Salem?s Lot isn?t the only horror movie currently set to debut in September as Black Mirror: Bandersnatch and 30 Days of Night director David Slade?s new film, an adaptation of Norman Partridge?s 2006 novel Dark Harvest, is slated to release around that time.
Based on the little we know about Dark Harvest; it looks like it could be a grand return to horror for Slade with its small-town mystery centered on a supernatural specter named Sawtooth Jack potentially providing the horror genre with a memorable horror killer.
?Halloween Ends?
Image via Universal Pictures
Blumhouse and David Gordon Green?s modern Halloween trilogy ends on October 14th with Halloween Ends possibly being the last bout between Jamie Lee Curtis? Laurie Strode and Michael Myers.
Halloween Kills left things on a tense and devastatingly bloody note, so the stage is set for a brutal final fight between Laurie and Michael that?s sure to tear through Haddonfield once again. It?s easily the biggest horror release of 2022 and one that horror fans can?t wait to see.
?Evil Dead Rise?
The Evil Dead franchise has had one of the best modern resurgences in the horror genre with the success of Ash vs. Evil Dead on the small screen, a new video game release on the horizon, and now, a new film from The Hole in the Ground director Lee Cronin for HBO Max.
RELATED: Bruce Campbell Says He’s Done Play Ash in Evil Dead Franchise
Evil Dead Rise will tell a new story in the Evil Dead universe, and while it was sad that Bruce Campbell confirmed that beloved protagonist Ash won?t be involved with his retirement of the character, Campbell and franchise creator Sam Raimi serving as producers shows the potential for Evil Dead Rise to continue the franchise?s resurgence.
?Prey?
Image via 20th Century Studios
Hulu is set to release a new film in the Predator series from 10 Cloverfield Lane director Dan Trachtenberg titled Prey sometime in 2022.
At this point, not much is known about the film since its ties to Predator were originally supposed to be a secret, but it is said to be a prequel to every film in the series capturing a Predator?s first journey to Earth. The cat might be out of the bag on Prey being a Predator movie, but that doesn?t mean it still can?t have some surprises up its sleeve in the form of some R-rated action-horror fun for fans.
?Hellraiser?
If you wanted another V/H/S alum to take on another beloved horror franchise in 2022, look no further than David Bruckner?s upcoming reboot ofHellraiser set to release on Hulu this year.
Given his recent work with The Night House, Bruckner could return the franchise to its psychologically haunting atmosphere and make it align more with Clive Barker?s original vision. This entry will also be the first time an actress is portraying the central cenobite, Pinhead, who will be played by Jamie Clayton, so fans should definitely watch out for the return of the cult classic horror franchise.
KEEP READING: Best Horror Movies on Netflix Right Now
It is almost time for Captain Marvel, Ms. Marvel, and Monica Rambeau to unite.
Read Next
About The Author
Tom Moore (24 Articles Published)
I am Tom Moore. I am a List Movies/TV Writer for Collider. I also write for The Pop Break, In Their Own League, Wrap Party Media, and my own blog Mooreviews.
More
From Tom Moore
We wish to thank the writer of this short article for this incredible content
[date_timestamp] => 1645382543
)
[2] => Array
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[title] => 10 Under-Appreciated Fantasy Movies Worth A Second Look
[link] => https://mov.movs.world/scream-away/10-under-appreciated-fantasy-movies-worth-a-second-look/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sun, 20 Feb 2022 17:19:58 +0000
[category] => Scream AwayFantasyMoviesUnderappreciatedworth
[guid] => https://mov.movs.world/?p=43287
[description] => It is a good time to be a fantasy fan. The Lord of the Rings trilogy opened the door to the modern possibilities of portraying fantasy onscreen while Game of Thrones solidified the genre as an immensely popular vehicle for contemporary storytelling. Regardless, it can be difficult to make a decent work of fantasy. Yet, ... Read more
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It is a good time to be a fantasy fan. TheLord of the Rings trilogy opened the door to the modern possibilities of portraying fantasy onscreen while Game of Thrones solidified the genre as an immensely popular vehicle for contemporary storytelling. Regardless, it can be difficult to make a decent work of fantasy. Yet, there are also many that have been overlooked or underappreciated for one reason or another.
RELATED: The Best Fantasy And Sci-Fi Shows On Netflix
Some of these may not even be the best that the genre could bring to bear, but perhaps they deserve more credit than they initially received. In a world full of viewers hungry for things to watch and numerous ways to get them, it is time to give a few of these films a second chance.
Return To Oz (1985)
This is a famously dark and strange follow-up to the 1939 classic, The Wizard of Oz. Dorothy Gale (Fairuza Balk), as the title suggests, returns to the land of Oz to find the Emerald City destroyed, the citizens now transformed into stone statues, and the friends she once knew and loved missing. Now, she must go on a new journey to rescue them and save Oz with the help of new allies while facing the villains that have taken over during her absence.
Directed by Walter Murch, this movie was criticized for being too bleak and scary during its initial release. Knowing this now, audiences should be able to understand and appreciate this more adult take on the Oz story, as well as the wondrously bizarre and rich visuals and production design.
COLLIDER VIDEO OF THE DAY
Vampire Hunter D: Bloodlust (2000)
In a post-apocalyptic Earth, the mysterious vampire hunter known simply as D must battle monsters and competing bounty hunters to save a young woman who has supposedly been kidnaped by a vampire nobleman.
World-building is a fundamental component of fantasy, and this movie boasts quite a unique and eclectic world, brought to life by gorgeous animation. The setting, design, and style take inspiration from a myriad of different sources, including westerns, horror movies, and science fiction. Not only does the film look great and distinctive, it has a very poignant and haunting narrative focused around D, one of the rival bounty hunters, the supposed villain, and his apparent captive.
Treasure Planet (2002)
Rebellious Jim Hawkins embarks on an adventure through space to find a mythical planet full of unimaginable wealth. Along the way, he forms a bond with the cyborg pirate John Silver, who also seeks the treasure.
RELATED: The Most Underrated Sci-Fi Movies Of The Last Decade
Like Star Wars, this movie walks a tightrope between fantasy and science fiction. While the presence of aliens and futuristic technology suggest sci-fi, the atmosphere, characters, and even certain design choices like old-timey clothes and flying boats feel like they belong in a world of fantasy. If Treasure Planet’s fascinating blend of elements is not enough to pique your interest, this movie also has a heartwarming story about a surrogate father and son relationship.
Big Fish (2003)
Edward Bloom loves to tell tall tales, which infuriates his son, Will. When Edward is on his deathbed, Will has to find a way to reconcile with his father while learning about his life, which is recounted to Will by Edward in his usual unbelievable manner.
For the majority of this underrated Tim Burton film, the fantasy elements are made to be ambiguous. Even though it actually shows you witches, werewolves, and a field of flowers that seemingly grew out of nowhere, you are led to believe that these things are present in a narrative being spun by a supposedly unreliable narrator, adding to the uniqueness of the movie. In the end, what is truly compelling about it is the whimsical and deeply touching story about the life of this man, Edward Bloom, from his younger days to his final ones spent talking about it with his son.
The Forbidden Kingdom (2008)
Loosely based on the famous Chinese novel Journey to the West, this movie sees a young westerner inexplicably transported to ancient China. Once there, he must complete a quest to return a magical staff to the Monkey King with the help of a drunkard, a monk, and a vengeance-seeking young woman.
Forbidden Kingdom may not have been able to achieve the level of prestige of other wuxia films like Hero (2002) and House of Flying Daggers (2004), but it is still a fun and visually pleasing adventure full of impressive action sequences. If nothing else, the movie is worth watching just for the fight scene in which Jackie Chan and Jet Li duke it out using various martial arts styles.
Cirque Du Freak: The Vampire’s Assistant (2009)
Teenager Darren Shan had a pretty good life until his best friend’s own life was threatened, leading him to make a deal with a vampire to save him. Unfortunately for Darren, this deal includes him becoming a vampire himself.
Adapted from a series of novels, this movie is not popular among fans of the books. If you can look past all that, there is a quirkiness which permeates through the film’s style and fantasy elements, giving it a sense of identity often missing from most other movies like it. And while it suffers from having an impotent lead, there is still an under-appreciated performance here from John C. Reilly, who plays against type as the lead’s mentor, a seasoned vampire warrior.
Berserk: The Golden Age Arc III – The Advent (2013)
In the third part to the animated trilogy adaptation of Kentaro Miura‘s trailblazing work, Guts returns to the Band of the Hawk. This time, he’s there with the mission to rescue its captured leader, Griffith, who ultimately betrays them in order to ensure the continuation of his dream.
RELATED: Fantasy Movies Like ‘Lord Of The Rings’ For When You’re Seeking An Escape From Reality
This sequel succeeds in being the best of a flawed trilogy by maintaining much of the emotional depth from the source material which was lacking in the previous films, and offering some stunning imagery that you will wish you had seen on the big screen. Having said all that, interested viewers should be warned that certain scenes in the movie are especially violent and graphic.
Beautiful Creatures (2013)
Released during the height of the young adult novel wave sweeping through Hollywood, this book-to-film adaptation about a small-town teenager who falls in love with a witch who fears her own dark side.
This entry possesses several qualities that movies of its kind should envy: compelling characters, a much-needed sense of humor, and more chemistry between its romantic leads than the majority of YA franchises could muster in the entirety of their runs.
Weathering With You (2019)
Telling the story of a young runaway who meets a city girl with the power to control the weather, this movie sadly suffers from existing in the shadow of the director Makoto Shinkai’s previous work, Your Name(2016).
While there are certainly visual and narrative similarities, Weathering with You still has its own mythos, a stronger supporting cast, and a less straightforward ending. The love story may not be as imaginative as in Your Name, but it is more intimate.
New Gods: Nezha Reborn (2021)
Biker and smuggler Li Yunxiang discovers that he is the modern reincarnation of Nezha, the deity from Chinese folklore. He has to figure out how to use his new powers to protect his home of Donghai City from the sinister De Clan and its leader, the Dragon King of the East Sea.
This animated movie is very recent and is apparently getting a sequel, but wider audiences may not have even heard of it. The film features an intriguing combination of cyberpunk, steampunk, Chinese mythology, and superhero tropes. While it is debatable how well these elements work together, the creativity and passion on display are worth acknowledging and could serve to inspire new creators of fantasy.
NEXT: The Best Hidden Gems And Underrated Movies On Netflix Right Now
‘Peacemaker’s 10-Minute Gag Reel Makes You Feel Like Part of the Cast
The blooper reel is full of forgotten lines, endless laughter, and your typical ‘Peacemaker’ shenanigans.
Read Next
About The Author
Jordan St James (3 Articles Published)
Jordan is a freelance writer specializing in film, television and new media, having acquired university qualifications in the field. He has written reviews and analyses for movies and television shows, in both print and audiovisual form. He is now expanding to list writing for Collider. Besides that, he is a screenwriter and freelance filmmaker looking to get some ideas and projects off the ground.
More
From Jordan St James
We would love to say thanks to the author of this post for this amazing content
)
[summary] => It is a good time to be a fantasy fan. The Lord of the Rings trilogy opened the door to the modern possibilities of portraying fantasy onscreen while Game of Thrones solidified the genre as an immensely popular vehicle for contemporary storytelling. Regardless, it can be difficult to make a decent work of fantasy. Yet, ... Read more
[atom_content] =>
It is a good time to be a fantasy fan. TheLord of the Rings trilogy opened the door to the modern possibilities of portraying fantasy onscreen while Game of Thrones solidified the genre as an immensely popular vehicle for contemporary storytelling. Regardless, it can be difficult to make a decent work of fantasy. Yet, there are also many that have been overlooked or underappreciated for one reason or another.
RELATED: The Best Fantasy And Sci-Fi Shows On Netflix
Some of these may not even be the best that the genre could bring to bear, but perhaps they deserve more credit than they initially received. In a world full of viewers hungry for things to watch and numerous ways to get them, it is time to give a few of these films a second chance.
Return To Oz (1985)
This is a famously dark and strange follow-up to the 1939 classic, The Wizard of Oz. Dorothy Gale (Fairuza Balk), as the title suggests, returns to the land of Oz to find the Emerald City destroyed, the citizens now transformed into stone statues, and the friends she once knew and loved missing. Now, she must go on a new journey to rescue them and save Oz with the help of new allies while facing the villains that have taken over during her absence.
Directed by Walter Murch, this movie was criticized for being too bleak and scary during its initial release. Knowing this now, audiences should be able to understand and appreciate this more adult take on the Oz story, as well as the wondrously bizarre and rich visuals and production design.
COLLIDER VIDEO OF THE DAY
Vampire Hunter D: Bloodlust (2000)
In a post-apocalyptic Earth, the mysterious vampire hunter known simply as D must battle monsters and competing bounty hunters to save a young woman who has supposedly been kidnaped by a vampire nobleman.
World-building is a fundamental component of fantasy, and this movie boasts quite a unique and eclectic world, brought to life by gorgeous animation. The setting, design, and style take inspiration from a myriad of different sources, including westerns, horror movies, and science fiction. Not only does the film look great and distinctive, it has a very poignant and haunting narrative focused around D, one of the rival bounty hunters, the supposed villain, and his apparent captive.
Treasure Planet (2002)
Rebellious Jim Hawkins embarks on an adventure through space to find a mythical planet full of unimaginable wealth. Along the way, he forms a bond with the cyborg pirate John Silver, who also seeks the treasure.
RELATED: The Most Underrated Sci-Fi Movies Of The Last Decade
Like Star Wars, this movie walks a tightrope between fantasy and science fiction. While the presence of aliens and futuristic technology suggest sci-fi, the atmosphere, characters, and even certain design choices like old-timey clothes and flying boats feel like they belong in a world of fantasy. If Treasure Planet’s fascinating blend of elements is not enough to pique your interest, this movie also has a heartwarming story about a surrogate father and son relationship.
Big Fish (2003)
Edward Bloom loves to tell tall tales, which infuriates his son, Will. When Edward is on his deathbed, Will has to find a way to reconcile with his father while learning about his life, which is recounted to Will by Edward in his usual unbelievable manner.
For the majority of this underrated Tim Burton film, the fantasy elements are made to be ambiguous. Even though it actually shows you witches, werewolves, and a field of flowers that seemingly grew out of nowhere, you are led to believe that these things are present in a narrative being spun by a supposedly unreliable narrator, adding to the uniqueness of the movie. In the end, what is truly compelling about it is the whimsical and deeply touching story about the life of this man, Edward Bloom, from his younger days to his final ones spent talking about it with his son.
The Forbidden Kingdom (2008)
Loosely based on the famous Chinese novel Journey to the West, this movie sees a young westerner inexplicably transported to ancient China. Once there, he must complete a quest to return a magical staff to the Monkey King with the help of a drunkard, a monk, and a vengeance-seeking young woman.
Forbidden Kingdom may not have been able to achieve the level of prestige of other wuxia films like Hero (2002) and House of Flying Daggers (2004), but it is still a fun and visually pleasing adventure full of impressive action sequences. If nothing else, the movie is worth watching just for the fight scene in which Jackie Chan and Jet Li duke it out using various martial arts styles.
Cirque Du Freak: The Vampire’s Assistant (2009)
Teenager Darren Shan had a pretty good life until his best friend’s own life was threatened, leading him to make a deal with a vampire to save him. Unfortunately for Darren, this deal includes him becoming a vampire himself.
Adapted from a series of novels, this movie is not popular among fans of the books. If you can look past all that, there is a quirkiness which permeates through the film’s style and fantasy elements, giving it a sense of identity often missing from most other movies like it. And while it suffers from having an impotent lead, there is still an under-appreciated performance here from John C. Reilly, who plays against type as the lead’s mentor, a seasoned vampire warrior.
Berserk: The Golden Age Arc III – The Advent (2013)
In the third part to the animated trilogy adaptation of Kentaro Miura‘s trailblazing work, Guts returns to the Band of the Hawk. This time, he’s there with the mission to rescue its captured leader, Griffith, who ultimately betrays them in order to ensure the continuation of his dream.
RELATED: Fantasy Movies Like ‘Lord Of The Rings’ For When You’re Seeking An Escape From Reality
This sequel succeeds in being the best of a flawed trilogy by maintaining much of the emotional depth from the source material which was lacking in the previous films, and offering some stunning imagery that you will wish you had seen on the big screen. Having said all that, interested viewers should be warned that certain scenes in the movie are especially violent and graphic.
Beautiful Creatures (2013)
Released during the height of the young adult novel wave sweeping through Hollywood, this book-to-film adaptation about a small-town teenager who falls in love with a witch who fears her own dark side.
This entry possesses several qualities that movies of its kind should envy: compelling characters, a much-needed sense of humor, and more chemistry between its romantic leads than the majority of YA franchises could muster in the entirety of their runs.
Weathering With You (2019)
Telling the story of a young runaway who meets a city girl with the power to control the weather, this movie sadly suffers from existing in the shadow of the director Makoto Shinkai’s previous work, Your Name(2016).
While there are certainly visual and narrative similarities, Weathering with You still has its own mythos, a stronger supporting cast, and a less straightforward ending. The love story may not be as imaginative as in Your Name, but it is more intimate.
New Gods: Nezha Reborn (2021)
Biker and smuggler Li Yunxiang discovers that he is the modern reincarnation of Nezha, the deity from Chinese folklore. He has to figure out how to use his new powers to protect his home of Donghai City from the sinister De Clan and its leader, the Dragon King of the East Sea.
This animated movie is very recent and is apparently getting a sequel, but wider audiences may not have even heard of it. The film features an intriguing combination of cyberpunk, steampunk, Chinese mythology, and superhero tropes. While it is debatable how well these elements work together, the creativity and passion on display are worth acknowledging and could serve to inspire new creators of fantasy.
NEXT: The Best Hidden Gems And Underrated Movies On Netflix Right Now
‘Peacemaker’s 10-Minute Gag Reel Makes You Feel Like Part of the Cast
The blooper reel is full of forgotten lines, endless laughter, and your typical ‘Peacemaker’ shenanigans.
Read Next
About The Author
Jordan St James (3 Articles Published)
Jordan is a freelance writer specializing in film, television and new media, having acquired university qualifications in the field. He has written reviews and analyses for movies and television shows, in both print and audiovisual form. He is now expanding to list writing for Collider. Besides that, he is a screenwriter and freelance filmmaker looking to get some ideas and projects off the ground.
More
From Jordan St James
We would love to say thanks to the author of this post for this amazing content
[date_timestamp] => 1645377598
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(
[title] => What Disney+?s Goosebumps Can Learn From Fear Street
[link] => https://mov.movs.world/scream-away/what-disneys-goosebumps-can-learn-from-fear-street/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sun, 20 Feb 2022 15:57:55 +0000
[category] => Scream AwayDisneysfearGoosebumpsLearnStreet
[guid] => https://mov.movs.world/?p=43243
[description] => For the first time since the ?90s, Goosebumps is returning to Disney, leading many to reflect on Netflix?s similar Fear Street series, and the lessons Disney+ could learn by adapting another R.L. Stine book series. Originally a collection of novels from the early ?90s, Fear Street was brought to Netflix as a trilogy of supernatural slasher films ... Read more
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(
[encoded] =>
For the first time since the ?90s, Goosebumps is returning to Disney, leading many to reflect on Netflix?s similar Fear Street series, and the lessons Disney+ could learn by adapting another R.L. Stine book series. Originally a collection of novels from the early ?90s, Fear Street was brought to Netflix as a trilogy of supernatural slasher films that were well-received. However, after Netflix proved that R.L. Stine can still be relevant and entertaining, perhaps Goosebumps can once again rise from its goopy green grave.
Not unlike Fear Street, Goosebumps was a series of horror novels intended for young audiences. In the ?90s, R.L. Stine?s books erupted to monstrous success, spawning multiple adaptations and encouraging generations of avid readers. It was Disney+ who announced that for the first time since 1998, Goosebumps was returning to television with a new horror show. Unlike the previous Saturday morning anthology, Disney+ announced their take on Stine?s mythology is a serial about a group of teenagers who have to work together to combat supernatural horrors they unleashed upon their town.
SCREENRANT VIDEO OF THE DAY
Related: Every R.L. Stine Movie Ranked (Including The Fear Street Trilogy)
When it aired, viewers loved Fear Street?s nostalgic tribute to old-school horror and believed it to hit all the right notes. In the past, Disney has treated Goosebumps well, having used it to create theme park attractions that brought the horror of R.L. Stine to Walt Disney World. However, times have changed since Goosebumps? heyday, a lot has happened, and whether Disney is still the right creative team to capture the morbid humor, scares, and campy charm of R.L. Stine is in question. If the monsters that haunted our local libraries are planning to make their big comeback, Disney needs to look to Fear Street and its creative choices as inspiration for their next big debut.
Goosebumps Needs To Be Scarier
One of the aspects that made Fear Street work was how it managed to make its concepts scary, using ideas such as curses and possession to build tension, mystery, and dread. Additionally, Netflix made great use of settings such as the mall, the school, and of course, the iconic Camp Nightwing to create atmospheres where the characters didn?t feel safe and were constantly in danger. Goosebumps had a habit of leaning into the campier side of things, especially when it came to its Saturday morning anthology; however, it wasn?t without its share of scares, shocks, and skin-crawling scenes. If Goosebumps is going to return, it needs to balance out the campiness of vampire poodles and comic book supervillains with more scary moments.
Disney these days isn?t a brand associated with horror, and they?ll rarely make movies in the tradition of Don?t Look Under the Bed and Something Wicked This Way Comes, although Goosebumps can find a way to make childhood fears scary again. Goosebumps, season 1, episode 1, ?The Haunted Mask,? was considered one of the most frightening episodes and the perfect way to handle more family-friendly horror. Without relying on gore, Goosebumps? first episode built up the main character?s change into something evil, conveyed the suffocating skin of the mask wrapping around her, and utilized the moans of the rejected faces crying to be loved to create a scary story with a TV Y-7 rating. Additionally, Goosebumps, season 3, episodes 8 & 9, ?One Day at Horrorland,? managed to catch viewers off-guard with bad puns and campy characters before delivering claustrophobic settings and terrifying scenarios. Not unlike the Fear Street movies, both Disney and Goosebumps know how to be scary; they just can?t be afraid to bring the horror.
Goosebumps Should Lean Into Nostalgia
R.L. Stine wrote the Fear Street novels for a different time, and the movies understood that it needed to lean into nostalgia by setting them mainly in 1994. Goosebumps is similar to Stine?s other novels in this regard, being popular in the ?90s when the franchise took off and childrens? horror was considered a novelty. There have been attempts to update Goosebumps for a modern audience, but, despite reusing familiar ideas and characters, none had the charm nor the novelty they had back in the ?90s. If Goosebumps is going to stand out, the show should remind audiences what made the series unique in its heyday and return to the generation that made its popularity possible.
Related: No Way Home-Style Nostalgia Films Can Save Reboots
With its more serialized approach to an anthology, it wouldn?t be hard to follow Fear Street?s lead and set Goosebumps? episodes in the early ?90s. Additionally, Fear Street wasn?t opposed to doing a whole movie based around flashbacks to Camp Nightwing in the late ?70s. With Goosebumps? premise partially based around past secrets, perhaps Disney could do a few ?90s flashbacks if set in the modern-day. Otherwise, there?s power in iconography and aesthetics; Fear Street managed to make great use of a neon color palette, and Goosebumps could pull off the same, as well as get away with some ?90s-infused easter eggs, settings and props. Nostalgia is a powerful storytelling tool and a property with a history like Goosebumps; it makes sense the series could easily acknowledge its past.
Better Creature Designs
Goosebumps had so many incredible creature designs on the cover of their novels; however, they were rarely something that translated well to the small screen. Although not all their killers got equal screen time, the monsters conjured by Netflix?s Fear Street trilogy all had unique looks and enough personality to distinguish them, even when they were supposed to be blood-seeking drones. In most respects, Goosebumps always depended on its monsters to sell the series, and Disney will need to bring them to life to make this new series work. Creating live-action creatures similar to Fear Street?s is a challenge, but not impossible.
Although Fear Street had many monsters and villains to choose from, the trilogy selected some of the most distinguished to haunt Shadyside. Whether it?s the ax-wielding Camp Nightwing Killer, the singing ?60s slasher Ruby Lane or the classically cloaked Skull Mask, they were characters who were as creepy as they were iconic. In the past, R.L. Stine has used werewolves, vampires, and mummies in his stories, but he has also created some one-of-a-kind terrors. The sadistically distinguished Horrorland Horrors, Cuddles the giant slime-spewing hamster, and even the hideous Haunted Mask are all cool ghouls of old school who can make for visually distinct villains.
Goosebumps’ Story Should Be Character-Driven
Fear Street worked because of the character-driven story the films told, putting a heavy focus on the relationships of its cast. Goosebumps? appeal always came from its menagerie of monsters, and usually, they were the ones who got top billing. It was rare that any of Goosebumps? human protagonists became memorable, and if the series plans to focus on recurring characters, it?ll have to take the time to develop them.
Related: Is Fear Street Connected To Stranger Things (Why They Look So Similar)
Netflix?s trilogy established its cast and created an interesting deep-rooted social dynamic between the people of Sunnyvale and Shadyside. The three movies also created characters that viewers grew attached to throughout the films, especially in Fear Street Part Two: 1978, which explored the story of two sisters and how their encounter with the Camp Nightwing Killer ruined their lives. Disney?s premise already seems to have a diverse group of teenagers; what it needs to do with them is define their personalities, reveal their secrets, and explore how their encounters change them. Originally Goosebumps was a collection of independent horror stories, but now as a serial has a unique opportunity in the series, it just has to create a more human experience.
Netflix?s Fear Street as a trilogy successfully adapted R.L. Stine?s novels in a way that felt entertaining. In the case of Goosebumps, lightning doesn?t have to strike twice, but it does have to reanimate the series for the small screen.
More: All 10 Goosebumps Books That Were Inspired By Classic Horror Movies
Peacemaker’s [SPOILER] Cameo Teases The Perfect Justice League Twist
About The Author
Spencer Bollettieri (20 Articles Published)
Biologist, journalist and comic book writer, the works of Spencer Bollettieri are as extensive as they are diverse. Having written for places like Mayke Studios, Jurassic Outpost and various other publications, his work has been described as a one of a kind. Blending his background in science, unique voice and love of most things nerdy to craft stories, articles and scripts.
Although having traveled the world in the pursuit of adventure and new stories to tell, he’s mostly based out of New York city. Often wondering where his journeys might take him next.
More From Spencer Bollettieri
We want to say thanks to the writer of this post for this outstanding web content
)
[summary] => For the first time since the ?90s, Goosebumps is returning to Disney, leading many to reflect on Netflix?s similar Fear Street series, and the lessons Disney+ could learn by adapting another R.L. Stine book series. Originally a collection of novels from the early ?90s, Fear Street was brought to Netflix as a trilogy of supernatural slasher films ... Read more
[atom_content] =>
For the first time since the ?90s, Goosebumps is returning to Disney, leading many to reflect on Netflix?s similar Fear Street series, and the lessons Disney+ could learn by adapting another R.L. Stine book series. Originally a collection of novels from the early ?90s, Fear Street was brought to Netflix as a trilogy of supernatural slasher films that were well-received. However, after Netflix proved that R.L. Stine can still be relevant and entertaining, perhaps Goosebumps can once again rise from its goopy green grave.
Not unlike Fear Street, Goosebumps was a series of horror novels intended for young audiences. In the ?90s, R.L. Stine?s books erupted to monstrous success, spawning multiple adaptations and encouraging generations of avid readers. It was Disney+ who announced that for the first time since 1998, Goosebumps was returning to television with a new horror show. Unlike the previous Saturday morning anthology, Disney+ announced their take on Stine?s mythology is a serial about a group of teenagers who have to work together to combat supernatural horrors they unleashed upon their town.
SCREENRANT VIDEO OF THE DAY
Related: Every R.L. Stine Movie Ranked (Including The Fear Street Trilogy)
When it aired, viewers loved Fear Street?s nostalgic tribute to old-school horror and believed it to hit all the right notes. In the past, Disney has treated Goosebumps well, having used it to create theme park attractions that brought the horror of R.L. Stine to Walt Disney World. However, times have changed since Goosebumps? heyday, a lot has happened, and whether Disney is still the right creative team to capture the morbid humor, scares, and campy charm of R.L. Stine is in question. If the monsters that haunted our local libraries are planning to make their big comeback, Disney needs to look to Fear Street and its creative choices as inspiration for their next big debut.
Goosebumps Needs To Be Scarier
One of the aspects that made Fear Street work was how it managed to make its concepts scary, using ideas such as curses and possession to build tension, mystery, and dread. Additionally, Netflix made great use of settings such as the mall, the school, and of course, the iconic Camp Nightwing to create atmospheres where the characters didn?t feel safe and were constantly in danger. Goosebumps had a habit of leaning into the campier side of things, especially when it came to its Saturday morning anthology; however, it wasn?t without its share of scares, shocks, and skin-crawling scenes. If Goosebumps is going to return, it needs to balance out the campiness of vampire poodles and comic book supervillains with more scary moments.
Disney these days isn?t a brand associated with horror, and they?ll rarely make movies in the tradition of Don?t Look Under the Bed and Something Wicked This Way Comes, although Goosebumps can find a way to make childhood fears scary again. Goosebumps, season 1, episode 1, ?The Haunted Mask,? was considered one of the most frightening episodes and the perfect way to handle more family-friendly horror. Without relying on gore, Goosebumps? first episode built up the main character?s change into something evil, conveyed the suffocating skin of the mask wrapping around her, and utilized the moans of the rejected faces crying to be loved to create a scary story with a TV Y-7 rating. Additionally, Goosebumps, season 3, episodes 8 & 9, ?One Day at Horrorland,? managed to catch viewers off-guard with bad puns and campy characters before delivering claustrophobic settings and terrifying scenarios. Not unlike the Fear Street movies, both Disney and Goosebumps know how to be scary; they just can?t be afraid to bring the horror.
Goosebumps Should Lean Into Nostalgia
R.L. Stine wrote the Fear Street novels for a different time, and the movies understood that it needed to lean into nostalgia by setting them mainly in 1994. Goosebumps is similar to Stine?s other novels in this regard, being popular in the ?90s when the franchise took off and childrens? horror was considered a novelty. There have been attempts to update Goosebumps for a modern audience, but, despite reusing familiar ideas and characters, none had the charm nor the novelty they had back in the ?90s. If Goosebumps is going to stand out, the show should remind audiences what made the series unique in its heyday and return to the generation that made its popularity possible.
Related: No Way Home-Style Nostalgia Films Can Save Reboots
With its more serialized approach to an anthology, it wouldn?t be hard to follow Fear Street?s lead and set Goosebumps? episodes in the early ?90s. Additionally, Fear Street wasn?t opposed to doing a whole movie based around flashbacks to Camp Nightwing in the late ?70s. With Goosebumps? premise partially based around past secrets, perhaps Disney could do a few ?90s flashbacks if set in the modern-day. Otherwise, there?s power in iconography and aesthetics; Fear Street managed to make great use of a neon color palette, and Goosebumps could pull off the same, as well as get away with some ?90s-infused easter eggs, settings and props. Nostalgia is a powerful storytelling tool and a property with a history like Goosebumps; it makes sense the series could easily acknowledge its past.
Better Creature Designs
Goosebumps had so many incredible creature designs on the cover of their novels; however, they were rarely something that translated well to the small screen. Although not all their killers got equal screen time, the monsters conjured by Netflix?s Fear Street trilogy all had unique looks and enough personality to distinguish them, even when they were supposed to be blood-seeking drones. In most respects, Goosebumps always depended on its monsters to sell the series, and Disney will need to bring them to life to make this new series work. Creating live-action creatures similar to Fear Street?s is a challenge, but not impossible.
Although Fear Street had many monsters and villains to choose from, the trilogy selected some of the most distinguished to haunt Shadyside. Whether it?s the ax-wielding Camp Nightwing Killer, the singing ?60s slasher Ruby Lane or the classically cloaked Skull Mask, they were characters who were as creepy as they were iconic. In the past, R.L. Stine has used werewolves, vampires, and mummies in his stories, but he has also created some one-of-a-kind terrors. The sadistically distinguished Horrorland Horrors, Cuddles the giant slime-spewing hamster, and even the hideous Haunted Mask are all cool ghouls of old school who can make for visually distinct villains.
Goosebumps’ Story Should Be Character-Driven
Fear Street worked because of the character-driven story the films told, putting a heavy focus on the relationships of its cast. Goosebumps? appeal always came from its menagerie of monsters, and usually, they were the ones who got top billing. It was rare that any of Goosebumps? human protagonists became memorable, and if the series plans to focus on recurring characters, it?ll have to take the time to develop them.
Related: Is Fear Street Connected To Stranger Things (Why They Look So Similar)
Netflix?s trilogy established its cast and created an interesting deep-rooted social dynamic between the people of Sunnyvale and Shadyside. The three movies also created characters that viewers grew attached to throughout the films, especially in Fear Street Part Two: 1978, which explored the story of two sisters and how their encounter with the Camp Nightwing Killer ruined their lives. Disney?s premise already seems to have a diverse group of teenagers; what it needs to do with them is define their personalities, reveal their secrets, and explore how their encounters change them. Originally Goosebumps was a collection of independent horror stories, but now as a serial has a unique opportunity in the series, it just has to create a more human experience.
Netflix?s Fear Street as a trilogy successfully adapted R.L. Stine?s novels in a way that felt entertaining. In the case of Goosebumps, lightning doesn?t have to strike twice, but it does have to reanimate the series for the small screen.
More: All 10 Goosebumps Books That Were Inspired By Classic Horror Movies
Peacemaker’s [SPOILER] Cameo Teases The Perfect Justice League Twist
About The Author
Spencer Bollettieri (20 Articles Published)
Biologist, journalist and comic book writer, the works of Spencer Bollettieri are as extensive as they are diverse. Having written for places like Mayke Studios, Jurassic Outpost and various other publications, his work has been described as a one of a kind. Blending his background in science, unique voice and love of most things nerdy to craft stories, articles and scripts.
Although having traveled the world in the pursuit of adventure and new stories to tell, he’s mostly based out of New York city. Often wondering where his journeys might take him next.
More From Spencer Bollettieri
We want to say thanks to the writer of this post for this outstanding web content
[date_timestamp] => 1645372675
)
[4] => Array
(
[title] => The French Connection: ?High Tension? and ?Tom at the Farm? Confronted Queer Horror In Different Ways
[link] => https://mov.movs.world/scream-away/the-french-connection-high-tension-and-tom-at-the-farm-confronted-queer-horror-in-different-ways/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sun, 20 Feb 2022 14:35:36 +0000
[category] => Scream AwayConfrontedConnectionFarmFrenchHorrorQueerTensionTom
[guid] => https://mov.movs.world/?p=43216
[description] => Set in a desolate location where cornstalks could offer a hiding spot or just as easily slice your cheek, these two French-language films complement one another well. Ironic, as they couldn?t be more different. High Tension leaves out subtlety for ultra-violence. Tom at the Farm has an emphasis on nuance. There might be no greater ... Read more
[content] => Array
(
[encoded] =>
Set in a desolate location where cornstalks could offer a hiding spot or just as easily slice your cheek, these two French-language films complement one another well. Ironic, as they couldn?t be more different. High Tension leaves out subtlety for ultra-violence. Tom at the Farm has an emphasis on nuance. There might be no greater difference than how each depicts the motives and methods behind its central villains. Despite the contrasts, it’s the similarities between these two that effectively show a ?before? and ?after? when it comes to queer representation in the horror genre. Released ten years apart, they make for the best, unexpected pairing of a double feature.
COLLIDER VIDEO OF THE DAY
In 2003, High Tension was directed by Alexandre Aja. Taking place in the middle of nowhere in rural France, Marie (Cécile de France) joins her friend, Alex (Maïwenn), at her family?s farmhouse. The peaceful night drops into a nightmare when an invading mechanic (Philippe Nahon) goes off on a killing spree. When Alex is kidnapped, Marie follows in a rescue attempt. She ends the mechanic?s carnage but High Tension delivers a twist. Marie was so madly in love with Alex, she created a murderous persona. The United Kingdom theatrical title, Switchblade Romance, was maybe a little too on the nose.
RELATED: How ?Fear Street? Delivered the Complicated Queer Relationship Horror Fans Deserve
In 2013, Xavier Dolan directed and starred as the titular character of Tom at the Farm. After his boyfriend Guillaume passes away, Tom heads to rural Quebec to visit Guillaume?s mother, Agathe Longchamp (Lise Roy). Upon arriving, there are two shocking revelations. The late Guillaume was still ?in the closet? to his mother, making Tom?s connection to her son a tricky thing to navigate. Then there is Francis (Pierre-Yves Cardinal), an older brother Tom never knew of. Francis not only forces Tom to keep quiet on his true relationship with his brother, but an abusive sexual relationship develops between the two. He?s unable to leave the older brother despite all the worst tendencies shown. It?s not until Tom learns of a past incident that he finally wakes up to the situation that he?s in.
Image Via Entertainment One
Both of these films were inspired by prominent horror movies in American cinema. High Tension is a 2000s slasher in the style of an exploitation flick from a bygone era. In a Movie Web interview with B. Alan Orange, Aja said as much. ?We were trying to resurrect the spirit of the 70s. In this situation, we wanted a very nasty, savage, grueling kind of movie.? It isn?t too hard to see Aja?s film as a tribute to The Texas Chain Saw Massacre (1974). High Tension was an early template for the New French Extremity movement and what it would be known for; a no holds barred approach. The kills aren?t fun, they?re painful. A victim has her throat slashed, leaving behind a gaping wound as she sucks in her last breaths.
If the level of gore wasn?t controversial enough, there was the twist in having Marie be the killer. The Texas Chain Saw Massacre concludes with Sally (Marilyn Burns) screaming hysterically as she escapes from Leatherface, who?s left a very sore loser. A hopeful future for the young, traumatized Sally isn?t on the cards. With that in mind, it makes perfect sense that Marie isn?t the protector, but the destroyer. It’s a punch-in-the-gut type of realization because the character we are rooting for most is the one causing all of the violence and depravity. It?s a harsh conclusion. But it remains controversial for another reason.
Image Via CinemaCorp
It reeks of the lingering queer panic that became a popular method in American horror cinema. The 1960s gave a cross-dressing Norman Bates in Psycho. The 1970s had Leatherface playing housewife to his cannibal family. The 1980s offered transphobia with the Blondie-with-a-razor from Dressed to Kill. In these scary movies, queer folks were scary deviants. That carries over into High Tension, where Marie murders due to a suppressed obsession with her friend, something she mistakes for as love. From the same Movie Web interview, Aja never intended on invoking homophobia, instead stating: ?I don’t know how you can see this movie as something against gay and lesbian people.
It’s not about that. It’s really a friendship, love story.? The problem is, with only one queer character, Marie is the dangerous outsider. Aja might not have purposely unleashed Marie to repeat the queer panic gimmick, but in taking influence from American horror cinema, High Tension has to face its wrath too. Flash forward to when Dolan made Tom at the Farm. In adapting the stage play from Michel Marc Bouchard, Dolan explained in a IndieWire interview with Zack Sharf on what drew him to the material. ?I?ve always been such a fan of The Silence of the Lambs and I had always dreamed of directing a thriller, and I immediately saw that possibility in Tom.? Like Aja, Dolan found inspiration in a significant American horror film, one with queer panic baggage of its own.
Image Via EuropaCorp
In Jonathan Demme?s 1991 film, the focus was on character over gore. FBI agent Clarice Starling (Jodie Foster) was determined to save a woman?s life, surrounded by men who looked down at her or menaced her. Such as Dr. Hannibal Lecter (Sir Anthony Hopkins), who while locked up, used his words as a dangerous mind game. Starling suffers through these interactions in order to locate an active serial killer, Buffalo Bill (Ted Levine), who keeps the unfortunate horror tradition alive in depicting queer monsters. From a Vox article by Aja Romano, she wrote: ?In Demme?s defense, Silence of the Lambs explicitly tries to distance Buffalo Bill?s behavior from transgender identity. Lecter observes that Bill isn?t transgender, and Starling reminds the audience that there?s no link between transgender identity and violence.
The film overtly tries to separate its villain from the trans community ? in stark contrast to many of its predecessors in the horror genre.? Nevertheless, it proved to be two steps forward, and one step back. Buffalo Bill kills women to wear their skin and in the most infamous scene that scarred heterosexual audiences, he?s nude, tucked, and dancing to ?Goodbye Horses? by Q Lazzarus. Although inspired by this film, Dolan didn?t succumb to its negative tendencies. Being an openly gay filmmaker certainly helped, as did having previous projects which included queer characters and themes.
Image Via Entertainment One
High Tension offers just enough characterization to hit the ground running. Marie is the seemingly loyal friend, Alex is the helpless victim, and the mechanic is the threat. In Tom at the Farm, not everything is so simple. Cinematography and lighting set the mood fairly early on in introducing Francis. His first scene takes place at night, waking Tom up by covering his mouth before forcing him into lying about his dead brother. The next morning, he barges in on Tom in the shower, his face finally shown, close up and invading.
Psycho included a knife in a similar situation but at least Francis withholds the weapon. Francis has taken over the Longchamp farm, if begrudgingly so. This has given him a severe lack of socializing, made dangerous as he believes his volatile acts as merely ?acting out.? He does exhibit tenderness, if at unexpected moments. Alone in a barn, Francis leads Tom in a tango. It?s almost romantic, ending when Agathe walks in on them. Later, whether due to Francis being shocked, humiliated, or both, he assaults Tom for getting caught. Never mind the intimacy that pokes through, this relationship is still perverse. At this point, unlike Marie, Francis does not seem to be the dangerous outsider.
Image Via Entertainment One
On the matter of Tom, he?s both the victim and the survivor. When alone, he considers escape. But when Stockholm Syndrome takes hold, he stays, and the longer he remains on the Longchamp farm, the easier he takes the abuse. It reaches a point that when Francis chokes him, Tom urges him on for more strength. This isn?t roleplay. No safe word will save Tom if Francis decides to maintain his grip. It shouldn?t be forgotten what brought Tom to this farm. He?s lost Guillaume, then is forced into lying about their life together. There?s a hole in him that begs to be filled to end his grief. Francis forces his way in, whether Tom wants him to or not.
Marie and Francis are different, but they are still queer villains who use violence for personal gain. All the decapitations, ax swings, and chainsaw chases were for Marie to get Alex all to herself. Even after getting caught and being institutionalized, Marie craves to be with her friend. Alex survives but at a terrible cost, with no family and no friends. In a reversal, it?s Francis who is left alone, and rightfully so. Alone at the town bar, Tom learns from the bartender about an assault that occurred in the establishment some years back. After Francis got jealous of a young man trying to dance with his brother, Francis attacked the stranger, disfiguring him. Learning of this act of violence pushes Tom to finally escape. At a gas station along the way, he gets a glimpse of the injured young man. Tom is safe but just barely. As for the young man, he?s left with trauma, along with a physical reminder.
Image Via EuropaCorp
Erasure is a key theme in High Tension and Tom at the Farm. In the attack at the farmhouse, Marie has her fight-or-flight reaction tested. Hearing the mechanic?s footsteps creep closer to the guest bedroom, Marie commits to a disappearing act. She hides her clothes, makes the bed, and dries up the sink. By the time the mechanic steps in, all she has to do is remain concealed in her hiding spot. Until the twist reveals Marie?s danger was all artificial, disappearing is a matter of survival. In a different context, the same can be said for Tom?s lies. He isn?t sure how to respond when Agathe believes her dead son was in a relationship with a woman, that Tom was simply a friend.
What is already an awkward situation, becomes worse with the toxic older brother. Tom has to be careful, through his words and actions, all to appease Francis and keep Agathe in the dark. In doing so, Tom cuts himself out of Guillaume?s life as if their love never existed. Away from the Longchamp farm, even the town?s residents chose to erase the past. After the assault is revealed at the bar, Francis and his viciousness is the town?s open secret. Then the injured young man moved away, perfect for a town who much rather forget it ever happened.
Of Marie, Tom, and Francis, their respective films present queer characters who are so disillusioned with their surrounding circumstances, they descend into some very dark places. It?s only Tom who manages to crawl out of it and who knows of the lasting effects. High Tension used queerness as a plot device while Tom at the Farm used queerness as just one aspect to Tom and Francis. It brought them together, but it was not a catalyst for turning Francis into a monster. Released ten years apart, these two films show the growth that took place within queer representation in horror cinema. Like how monsters target their victims, the queer panic gimmick deserves a final death. Be it a shower intrusion with a knife or by the spinning teeth of a chainsaw – have your pick.
Why ‘The Lighthouse’ Is Actually A Queer Romance
Two men, one lighthouse, and a story about repressed identity.
Read Next
About The Author
Chris Sasaguay (42 Articles Published)
Chris Sasaguay is a Horror Features Writer for Collider. His passion in all the dark thrills of scary movies is thanks to a spooky childhood. Growing up, he visited family who lived in the Headless Horseman territory of Sleepy Hollow. Furthermore, if he should ever meet the iconic Jamie Lee Curtis, he?ll swiftly update his profile pic with the encounter. Stay tuned.
More
From Chris Sasaguay
We would love to give thanks to the author of this write-up for this remarkable content
)
[summary] => Set in a desolate location where cornstalks could offer a hiding spot or just as easily slice your cheek, these two French-language films complement one another well. Ironic, as they couldn?t be more different. High Tension leaves out subtlety for ultra-violence. Tom at the Farm has an emphasis on nuance. There might be no greater ... Read more
[atom_content] =>
Set in a desolate location where cornstalks could offer a hiding spot or just as easily slice your cheek, these two French-language films complement one another well. Ironic, as they couldn?t be more different. High Tension leaves out subtlety for ultra-violence. Tom at the Farm has an emphasis on nuance. There might be no greater difference than how each depicts the motives and methods behind its central villains. Despite the contrasts, it’s the similarities between these two that effectively show a ?before? and ?after? when it comes to queer representation in the horror genre. Released ten years apart, they make for the best, unexpected pairing of a double feature.
COLLIDER VIDEO OF THE DAY
In 2003, High Tension was directed by Alexandre Aja. Taking place in the middle of nowhere in rural France, Marie (Cécile de France) joins her friend, Alex (Maïwenn), at her family?s farmhouse. The peaceful night drops into a nightmare when an invading mechanic (Philippe Nahon) goes off on a killing spree. When Alex is kidnapped, Marie follows in a rescue attempt. She ends the mechanic?s carnage but High Tension delivers a twist. Marie was so madly in love with Alex, she created a murderous persona. The United Kingdom theatrical title, Switchblade Romance, was maybe a little too on the nose.
RELATED: How ?Fear Street? Delivered the Complicated Queer Relationship Horror Fans Deserve
In 2013, Xavier Dolan directed and starred as the titular character of Tom at the Farm. After his boyfriend Guillaume passes away, Tom heads to rural Quebec to visit Guillaume?s mother, Agathe Longchamp (Lise Roy). Upon arriving, there are two shocking revelations. The late Guillaume was still ?in the closet? to his mother, making Tom?s connection to her son a tricky thing to navigate. Then there is Francis (Pierre-Yves Cardinal), an older brother Tom never knew of. Francis not only forces Tom to keep quiet on his true relationship with his brother, but an abusive sexual relationship develops between the two. He?s unable to leave the older brother despite all the worst tendencies shown. It?s not until Tom learns of a past incident that he finally wakes up to the situation that he?s in.
Image Via Entertainment One
Both of these films were inspired by prominent horror movies in American cinema. High Tension is a 2000s slasher in the style of an exploitation flick from a bygone era. In a Movie Web interview with B. Alan Orange, Aja said as much. ?We were trying to resurrect the spirit of the 70s. In this situation, we wanted a very nasty, savage, grueling kind of movie.? It isn?t too hard to see Aja?s film as a tribute to The Texas Chain Saw Massacre (1974). High Tension was an early template for the New French Extremity movement and what it would be known for; a no holds barred approach. The kills aren?t fun, they?re painful. A victim has her throat slashed, leaving behind a gaping wound as she sucks in her last breaths.
If the level of gore wasn?t controversial enough, there was the twist in having Marie be the killer. The Texas Chain Saw Massacre concludes with Sally (Marilyn Burns) screaming hysterically as she escapes from Leatherface, who?s left a very sore loser. A hopeful future for the young, traumatized Sally isn?t on the cards. With that in mind, it makes perfect sense that Marie isn?t the protector, but the destroyer. It’s a punch-in-the-gut type of realization because the character we are rooting for most is the one causing all of the violence and depravity. It?s a harsh conclusion. But it remains controversial for another reason.
Image Via CinemaCorp
It reeks of the lingering queer panic that became a popular method in American horror cinema. The 1960s gave a cross-dressing Norman Bates in Psycho. The 1970s had Leatherface playing housewife to his cannibal family. The 1980s offered transphobia with the Blondie-with-a-razor from Dressed to Kill. In these scary movies, queer folks were scary deviants. That carries over into High Tension, where Marie murders due to a suppressed obsession with her friend, something she mistakes for as love. From the same Movie Web interview, Aja never intended on invoking homophobia, instead stating: ?I don’t know how you can see this movie as something against gay and lesbian people.
It’s not about that. It’s really a friendship, love story.? The problem is, with only one queer character, Marie is the dangerous outsider. Aja might not have purposely unleashed Marie to repeat the queer panic gimmick, but in taking influence from American horror cinema, High Tension has to face its wrath too. Flash forward to when Dolan made Tom at the Farm. In adapting the stage play from Michel Marc Bouchard, Dolan explained in a IndieWire interview with Zack Sharf on what drew him to the material. ?I?ve always been such a fan of The Silence of the Lambs and I had always dreamed of directing a thriller, and I immediately saw that possibility in Tom.? Like Aja, Dolan found inspiration in a significant American horror film, one with queer panic baggage of its own.
Image Via EuropaCorp
In Jonathan Demme?s 1991 film, the focus was on character over gore. FBI agent Clarice Starling (Jodie Foster) was determined to save a woman?s life, surrounded by men who looked down at her or menaced her. Such as Dr. Hannibal Lecter (Sir Anthony Hopkins), who while locked up, used his words as a dangerous mind game. Starling suffers through these interactions in order to locate an active serial killer, Buffalo Bill (Ted Levine), who keeps the unfortunate horror tradition alive in depicting queer monsters. From a Vox article by Aja Romano, she wrote: ?In Demme?s defense, Silence of the Lambs explicitly tries to distance Buffalo Bill?s behavior from transgender identity. Lecter observes that Bill isn?t transgender, and Starling reminds the audience that there?s no link between transgender identity and violence.
The film overtly tries to separate its villain from the trans community ? in stark contrast to many of its predecessors in the horror genre.? Nevertheless, it proved to be two steps forward, and one step back. Buffalo Bill kills women to wear their skin and in the most infamous scene that scarred heterosexual audiences, he?s nude, tucked, and dancing to ?Goodbye Horses? by Q Lazzarus. Although inspired by this film, Dolan didn?t succumb to its negative tendencies. Being an openly gay filmmaker certainly helped, as did having previous projects which included queer characters and themes.
Image Via Entertainment One
High Tension offers just enough characterization to hit the ground running. Marie is the seemingly loyal friend, Alex is the helpless victim, and the mechanic is the threat. In Tom at the Farm, not everything is so simple. Cinematography and lighting set the mood fairly early on in introducing Francis. His first scene takes place at night, waking Tom up by covering his mouth before forcing him into lying about his dead brother. The next morning, he barges in on Tom in the shower, his face finally shown, close up and invading.
Psycho included a knife in a similar situation but at least Francis withholds the weapon. Francis has taken over the Longchamp farm, if begrudgingly so. This has given him a severe lack of socializing, made dangerous as he believes his volatile acts as merely ?acting out.? He does exhibit tenderness, if at unexpected moments. Alone in a barn, Francis leads Tom in a tango. It?s almost romantic, ending when Agathe walks in on them. Later, whether due to Francis being shocked, humiliated, or both, he assaults Tom for getting caught. Never mind the intimacy that pokes through, this relationship is still perverse. At this point, unlike Marie, Francis does not seem to be the dangerous outsider.
Image Via Entertainment One
On the matter of Tom, he?s both the victim and the survivor. When alone, he considers escape. But when Stockholm Syndrome takes hold, he stays, and the longer he remains on the Longchamp farm, the easier he takes the abuse. It reaches a point that when Francis chokes him, Tom urges him on for more strength. This isn?t roleplay. No safe word will save Tom if Francis decides to maintain his grip. It shouldn?t be forgotten what brought Tom to this farm. He?s lost Guillaume, then is forced into lying about their life together. There?s a hole in him that begs to be filled to end his grief. Francis forces his way in, whether Tom wants him to or not.
Marie and Francis are different, but they are still queer villains who use violence for personal gain. All the decapitations, ax swings, and chainsaw chases were for Marie to get Alex all to herself. Even after getting caught and being institutionalized, Marie craves to be with her friend. Alex survives but at a terrible cost, with no family and no friends. In a reversal, it?s Francis who is left alone, and rightfully so. Alone at the town bar, Tom learns from the bartender about an assault that occurred in the establishment some years back. After Francis got jealous of a young man trying to dance with his brother, Francis attacked the stranger, disfiguring him. Learning of this act of violence pushes Tom to finally escape. At a gas station along the way, he gets a glimpse of the injured young man. Tom is safe but just barely. As for the young man, he?s left with trauma, along with a physical reminder.
Image Via EuropaCorp
Erasure is a key theme in High Tension and Tom at the Farm. In the attack at the farmhouse, Marie has her fight-or-flight reaction tested. Hearing the mechanic?s footsteps creep closer to the guest bedroom, Marie commits to a disappearing act. She hides her clothes, makes the bed, and dries up the sink. By the time the mechanic steps in, all she has to do is remain concealed in her hiding spot. Until the twist reveals Marie?s danger was all artificial, disappearing is a matter of survival. In a different context, the same can be said for Tom?s lies. He isn?t sure how to respond when Agathe believes her dead son was in a relationship with a woman, that Tom was simply a friend.
What is already an awkward situation, becomes worse with the toxic older brother. Tom has to be careful, through his words and actions, all to appease Francis and keep Agathe in the dark. In doing so, Tom cuts himself out of Guillaume?s life as if their love never existed. Away from the Longchamp farm, even the town?s residents chose to erase the past. After the assault is revealed at the bar, Francis and his viciousness is the town?s open secret. Then the injured young man moved away, perfect for a town who much rather forget it ever happened.
Of Marie, Tom, and Francis, their respective films present queer characters who are so disillusioned with their surrounding circumstances, they descend into some very dark places. It?s only Tom who manages to crawl out of it and who knows of the lasting effects. High Tension used queerness as a plot device while Tom at the Farm used queerness as just one aspect to Tom and Francis. It brought them together, but it was not a catalyst for turning Francis into a monster. Released ten years apart, these two films show the growth that took place within queer representation in horror cinema. Like how monsters target their victims, the queer panic gimmick deserves a final death. Be it a shower intrusion with a knife or by the spinning teeth of a chainsaw – have your pick.
Why ‘The Lighthouse’ Is Actually A Queer Romance
Two men, one lighthouse, and a story about repressed identity.
Read Next
About The Author
Chris Sasaguay (42 Articles Published)
Chris Sasaguay is a Horror Features Writer for Collider. His passion in all the dark thrills of scary movies is thanks to a spooky childhood. Growing up, he visited family who lived in the Headless Horseman territory of Sleepy Hollow. Furthermore, if he should ever meet the iconic Jamie Lee Curtis, he?ll swiftly update his profile pic with the encounter. Stay tuned.
More
From Chris Sasaguay
We would love to give thanks to the author of this write-up for this remarkable content
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[title] => ?Being a Woman is Full of Horror?: Female Directors Discuss Their Craft
[link] => https://mov.movs.world/scream-away/being-a-woman-is-full-of-horror-female-directors-discuss-their-craft/
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[creator] => Harry World
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[pubdate] => Sun, 20 Feb 2022 13:12:52 +0000
[category] => Scream AwayCraftDirectorsDiscussFemaleHorrorWoman
[guid] => https://mov.movs.world/?p=43133
[description] => LONDON ? When Ruth Paxton was 14, her father sneaked her into a movie theater in Scotland to see an anniversary rerelease of ?The Exorcist,? the classic 1973 film about a possessed girl. ?He was really excited about us watching it,? Paxton said recently, pointing out that the film had once been banned from home ... Read more
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[encoded] =>
LONDON ? When Ruth Paxton was 14, her father sneaked her into a movie theater in Scotland to see an anniversary rerelease of ?The Exorcist,? the classic 1973 film about a possessed girl.
?He was really excited about us watching it,? Paxton said recently, pointing out that the film had once been banned from home video release in Britain. ?But when we came out, I was, like, ?That was rubbish!??
It probably didn?t feature enough blood for her taste, she added, laughing.
Now, Paxton, 38, is trying to unsettle audiences with her own story of possession. Her debut feature, ?A Banquet,? about a girl who refuses to eat, comes to U.S. theaters and on-demand services on Friday. Writing in The New York Times, Lena Wilson praised the film?s ?slow-burn magic? and made it a Critic?s Pick.
?A Banquet? is the latest in a string of acclaimed recent horror movies from Britain and Ireland made by first-time female directors. It follows Rose Glass?s 2021 film ?Saint Maud? and Romola Garai?s ?Amulet,? from 2020, as well as Prano Bailey-Bond?s ?Censor,? the tale of a strict film classification official who ends up in an on-set blood bath.
More are on the way, including Kate Dolan?s ?You Are Not My Mother,? out March 25, about a young girl in Ireland whose mother starts acting strangely, and Charlotte Colbert?s ?She Will,? in which a woman travels to Scotland to recover from a double mastectomy and ends up channeling the spirits of local witches.
Alan Jones, a co-founder of FrightFest, the Britain?s most prominent horror movie festival, said that female directors have been working in the genre since its inception, but in the last five years, their numbers in Britain and Ireland have swelled. They were bringing ?a female perspective to the clichés of old,? Jones said.
One reason for the boom was that horror was more open to debut female directors than other genres, he said. ?You don?t need stars, or even that much money,? Jones said. ?You just need a really good idea.?
Last week, four of those debut filmmakers, all aged in their 30s ? Paxton, Bailey-Bond, Dolan and Colbert ? gathered on a video call to discuss what attracted them to the genre, what they bring to it as women and how horror films can bring about social change.
These are edited extracts from their conversation.
This isn?t the first wave of female horror directors. Why do you think another one is rising up now, in Britain and Ireland?
PRANO BAILEY-BOND It?s not just women who are making a lot of horror here: We?ve got Rob Savage and Remi Weekes and Mark Jenkin. But the conversations around diversity in the industry are now allowing all the women who have wanted to be making horror for years and years to make films at last.
KATE DOLAN All the female directors that I admired growing up, like Kathryn Bigelow and Claire Denis and Mary Harron, almost all of them made at least one horror movie. It?s not necessarily that women are just now being drawn to horror; they?re just getting a chance.
In the 1980s, Britain had a list of horror films ? the so-called ?video nasties? ? that were effectively banned for home viewing, as shown in ?Censor.? Some horror fans talk about working their way through that list as a way into the genre. What was your route in?
DOLAN When I was growing up, I watched loads of horror and I think it was really exciting for me then, because it?s a genre where there?s female protagonists who survive and win ? ?the final girl.? As a teenage girl that was really empowering.
BAILEY-BOND I, similarly, was totally attracted to the genre, to extreme things going on in films. I think at first it was partly the physical thrill ? the knowledge that when you finish watching, you then have to go upstairs to bed, and you think something?s going to grab your ankles.
But I never thought about being a horror director until someone saw my show reel and said I was one. I remember getting off that call going, ?Am I?? But if people want to pigeonhole you, sometimes that can be useful, because there?s a lot of filmmakers out there, so how do you make yourself stand out?
CHARLOTTE COLBERT I love how there?s a great artistic freedom in horror that?s perhaps not available in other genres. Obviously, in a drama, you can?t have a worm growing out of someone?s nostril, or something else so bold or artistic. But horror has really incredible freedom in terms of visuals and characters, and what?s acceptable and believable.
PAXTON Growing up, I watched lots of horror, but mainly because they had lots of soft porn in them, and I wanted to see the sex!
But I think I?ve always liked to look in the dark corners of things, and that?s in part because of my own experience. The scariest experiences I?ve ever had have been in my own head.
Even if the boom in Britain is across all genders, what do you feel women, specifically, are bringing to horror?
Five Movies to Watch This Winter
PAXTON With ?A Banquet,? my route into it was my experiences of disordered eating, and then the ripple effect of that on the family around me, and particularly the dynamic with my mum, who wanted me to eat when I wouldn?t.
I really don?t know what I bring, except my own interests. I?ve been freakishly death aware since I was a kid ? I wrote a last will and testament when I was eight years old ? but I don?t know if that has anything to do with my sex.
DOLAN You can only bring your own life experience to what you create. Being a woman is full of horror, so bringing those experiences to horror makes sense.
My next project is hopefully about the bodily autonomy of women in Ireland, as we?ve had a terrible fight for reproductive rights here. I want to make films about my experiences and struggles.
Is horror a better than other genres for exploring those issues?
COLBERT Personally, I think it?s an amazing and creative way to address social issues. And what?s also cool is that generally teenage boys are the biggest audience, so it?s a fantastic way to convey feminist imagery to people who aren?t necessarily interested. It could really have a long-term impact on the next generation.
DOLAN It?s interesting you say that, as there?s a great book called ?Men, Women and Chainsaws? by a scholar, Carol J. Clover, and she has a section where she talks about slasher movies and how they turn the male audience into ?the final girl,? essentially. So the audience have to perceive her fear of being chased by the killer, which makes them relate to the female character more.
We?re also seeing a wave of acclaimed horror movies worldwide, including Jordan Peele?s films from the United States; the French director Julia Ducournau won the top prize at last year?s Cannes Film Festival with ?Titane.? Does anything make British and Irish horror different?
BAILEY-BOND Britain?s really good at folk horror ? ?The Wicker Man,? of course. I don?t necessarily think that?s where we need to stay, but there seems to be something in our culture and our history that serves that subgenre. And it kind of feels like it belongs to this land a little bit.
The same goes for the Gothic haunted house story. We?re very good at that, and if you think of Britain and its architecture, a big spooky house with a maid really fits.
COLBERT Yes, somehow the landscapes here, especially in Scotland, the mist, feel so anchored with tales and mythology. Even in England, sometimes I feel you could film any landscape and the creatures of the past will pop out.
BAILEY-BOND That makes me think of the trope in American horror of films like ?Poltergeist? exploring legacies with Native American burial sites. It?s that same relationship to your past and either the fears of that land, or the guilt of that land, and how the land holds memory. With horror, you can tap into all of that.
We would love to thank the writer of this post for this outstanding content
)
[summary] => LONDON ? When Ruth Paxton was 14, her father sneaked her into a movie theater in Scotland to see an anniversary rerelease of ?The Exorcist,? the classic 1973 film about a possessed girl. ?He was really excited about us watching it,? Paxton said recently, pointing out that the film had once been banned from home ... Read more
[atom_content] =>
LONDON ? When Ruth Paxton was 14, her father sneaked her into a movie theater in Scotland to see an anniversary rerelease of ?The Exorcist,? the classic 1973 film about a possessed girl.
?He was really excited about us watching it,? Paxton said recently, pointing out that the film had once been banned from home video release in Britain. ?But when we came out, I was, like, ?That was rubbish!??
It probably didn?t feature enough blood for her taste, she added, laughing.
Now, Paxton, 38, is trying to unsettle audiences with her own story of possession. Her debut feature, ?A Banquet,? about a girl who refuses to eat, comes to U.S. theaters and on-demand services on Friday. Writing in The New York Times, Lena Wilson praised the film?s ?slow-burn magic? and made it a Critic?s Pick.
?A Banquet? is the latest in a string of acclaimed recent horror movies from Britain and Ireland made by first-time female directors. It follows Rose Glass?s 2021 film ?Saint Maud? and Romola Garai?s ?Amulet,? from 2020, as well as Prano Bailey-Bond?s ?Censor,? the tale of a strict film classification official who ends up in an on-set blood bath.
More are on the way, including Kate Dolan?s ?You Are Not My Mother,? out March 25, about a young girl in Ireland whose mother starts acting strangely, and Charlotte Colbert?s ?She Will,? in which a woman travels to Scotland to recover from a double mastectomy and ends up channeling the spirits of local witches.
Alan Jones, a co-founder of FrightFest, the Britain?s most prominent horror movie festival, said that female directors have been working in the genre since its inception, but in the last five years, their numbers in Britain and Ireland have swelled. They were bringing ?a female perspective to the clichés of old,? Jones said.
One reason for the boom was that horror was more open to debut female directors than other genres, he said. ?You don?t need stars, or even that much money,? Jones said. ?You just need a really good idea.?
Last week, four of those debut filmmakers, all aged in their 30s ? Paxton, Bailey-Bond, Dolan and Colbert ? gathered on a video call to discuss what attracted them to the genre, what they bring to it as women and how horror films can bring about social change.
These are edited extracts from their conversation.
This isn?t the first wave of female horror directors. Why do you think another one is rising up now, in Britain and Ireland?
PRANO BAILEY-BOND It?s not just women who are making a lot of horror here: We?ve got Rob Savage and Remi Weekes and Mark Jenkin. But the conversations around diversity in the industry are now allowing all the women who have wanted to be making horror for years and years to make films at last.
KATE DOLAN All the female directors that I admired growing up, like Kathryn Bigelow and Claire Denis and Mary Harron, almost all of them made at least one horror movie. It?s not necessarily that women are just now being drawn to horror; they?re just getting a chance.
In the 1980s, Britain had a list of horror films ? the so-called ?video nasties? ? that were effectively banned for home viewing, as shown in ?Censor.? Some horror fans talk about working their way through that list as a way into the genre. What was your route in?
DOLAN When I was growing up, I watched loads of horror and I think it was really exciting for me then, because it?s a genre where there?s female protagonists who survive and win ? ?the final girl.? As a teenage girl that was really empowering.
BAILEY-BOND I, similarly, was totally attracted to the genre, to extreme things going on in films. I think at first it was partly the physical thrill ? the knowledge that when you finish watching, you then have to go upstairs to bed, and you think something?s going to grab your ankles.
But I never thought about being a horror director until someone saw my show reel and said I was one. I remember getting off that call going, ?Am I?? But if people want to pigeonhole you, sometimes that can be useful, because there?s a lot of filmmakers out there, so how do you make yourself stand out?
CHARLOTTE COLBERT I love how there?s a great artistic freedom in horror that?s perhaps not available in other genres. Obviously, in a drama, you can?t have a worm growing out of someone?s nostril, or something else so bold or artistic. But horror has really incredible freedom in terms of visuals and characters, and what?s acceptable and believable.
PAXTON Growing up, I watched lots of horror, but mainly because they had lots of soft porn in them, and I wanted to see the sex!
But I think I?ve always liked to look in the dark corners of things, and that?s in part because of my own experience. The scariest experiences I?ve ever had have been in my own head.
Even if the boom in Britain is across all genders, what do you feel women, specifically, are bringing to horror?
Five Movies to Watch This Winter
PAXTON With ?A Banquet,? my route into it was my experiences of disordered eating, and then the ripple effect of that on the family around me, and particularly the dynamic with my mum, who wanted me to eat when I wouldn?t.
I really don?t know what I bring, except my own interests. I?ve been freakishly death aware since I was a kid ? I wrote a last will and testament when I was eight years old ? but I don?t know if that has anything to do with my sex.
DOLAN You can only bring your own life experience to what you create. Being a woman is full of horror, so bringing those experiences to horror makes sense.
My next project is hopefully about the bodily autonomy of women in Ireland, as we?ve had a terrible fight for reproductive rights here. I want to make films about my experiences and struggles.
Is horror a better than other genres for exploring those issues?
COLBERT Personally, I think it?s an amazing and creative way to address social issues. And what?s also cool is that generally teenage boys are the biggest audience, so it?s a fantastic way to convey feminist imagery to people who aren?t necessarily interested. It could really have a long-term impact on the next generation.
DOLAN It?s interesting you say that, as there?s a great book called ?Men, Women and Chainsaws? by a scholar, Carol J. Clover, and she has a section where she talks about slasher movies and how they turn the male audience into ?the final girl,? essentially. So the audience have to perceive her fear of being chased by the killer, which makes them relate to the female character more.
We?re also seeing a wave of acclaimed horror movies worldwide, including Jordan Peele?s films from the United States; the French director Julia Ducournau won the top prize at last year?s Cannes Film Festival with ?Titane.? Does anything make British and Irish horror different?
BAILEY-BOND Britain?s really good at folk horror ? ?The Wicker Man,? of course. I don?t necessarily think that?s where we need to stay, but there seems to be something in our culture and our history that serves that subgenre. And it kind of feels like it belongs to this land a little bit.
The same goes for the Gothic haunted house story. We?re very good at that, and if you think of Britain and its architecture, a big spooky house with a maid really fits.
COLBERT Yes, somehow the landscapes here, especially in Scotland, the mist, feel so anchored with tales and mythology. Even in England, sometimes I feel you could film any landscape and the creatures of the past will pop out.
BAILEY-BOND That makes me think of the trope in American horror of films like ?Poltergeist? exploring legacies with Native American burial sites. It?s that same relationship to your past and either the fears of that land, or the guilt of that land, and how the land holds memory. With horror, you can tap into all of that.
We would love to thank the writer of this post for this outstanding content
[date_timestamp] => 1645362772
)
[6] => Array
(
[title] => Here?s Why Bipasha Basu?s Raaz Continues To Be Bollywood?s Best Horror Film Till Date
[link] => https://mov.movs.world/scream-away/heres-why-bipasha-basus-raaz-continues-to-be-bollywoods-best-horror-film-till-date/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sun, 20 Feb 2022 11:50:42 +0000
[category] => Scream AwayBasusBipashaBollywoodsContinuesfilmHorrorRaaz
[guid] => https://mov.movs.world/?p=43089
[description] => Bollywood is churning out new content each day. During the pandemic we saw a flock of new actors making their way into OTT platforms making movies that are relatable and leave you hooked. We see many genres, from thriller, rom-com, action and even gory and abusive. But how many Bollywood filmmakers have been able to ... Read more
[content] => Array
(
[encoded] =>
Bollywood is churning out new content each day. During the pandemic we saw a flock of new actors making their way into OTT platforms making movies that are relatable and leave you hooked.
We see many genres, from thriller, rom-com, action and even gory and abusive. But how many Bollywood filmmakers have been able to roll out good horror films.
We saw a few films in the recent past like Stree and Roohi which has comic elements too but we do really miss an out and out scary Hindi film.
With very little attention given to my favourite genre, here’s why I think why Bipasha Basu’s Raaz continues to rule the roost still date.
1. Eerie, creepy that makes the plot interesting
Instagram
Set out in Ooty, Sanjana and Aditya are trying to save their failed marriage. But little do they know that the romantic destination will actually keep them on the edge.
2. Bipasha’s debut as the queen of horror
Tumbler
We are grateful, Bollywood recognised her potential as a queen of horror. Bipasha’s timing in the film is to watch out for. The scene where she is gardening and an axe falls out of nowhere, not once but many times, can definitely send shivers.
3. You cannot unhear Sanjanaaaaaaaaaaa
Twitter
That name can be heard in the whole film. Sanjana is Bipasha’s name but she can hear it in the winds right into her ear every time she is home alone. The way her hair flies and she turns out can horrify you.
4. A movie that was scary and sexy!
Twitter
Not just Bipasha Basu, even ghost has been handpicked as the sexy one. Malini Sharma as Malini Malik who plays the evil spirit), daughter of retired Colonel, is not your regular ghost with white face in a white saree. She is scary, sexy and too pretty to let go sometimes.
5. Ashutosh Rana’s role as professor is scarier than Dushman
MakeAGif
Playing the role of a professor, you would think, he is a man with solutions. In some parts, he is shown he is but the way he acts out in certain sceens where he senses the ghost and his untimely death will make you wonder if he was scary in this film or in Dushman.
6. Its not a typical ghost in a white saree
screengrab
Not a single white saree shot. Infact, the ghost is sassy. Before becoming a evil spirit, director Vikram Bhatt ensured Malini was a pretty girl with a husky voice and who drove her father’s jeep. Portraying the role of a mentally disturbed girl, who falls in love with Dino Morea.
7. Box office hit which lead to more installments
screengrab
Many reboots came and went but the original continues to slay till date. Ooty, wooden house, hill station vibe makes Bipasha-Dino starrer a perfect setting for a horror movie.
8. Unlike other horror movies, this one has the best music album
The music of the film was composed by Nadeem Shravan and the songs were mostly sung by Udit Narayan and Alka Yagnik, what else do we need from the 90s and 2000s. Bring back your headphones to listen to songs like Aapke Pyaar Mein, Jo Bhi Kasmein Khayi Thi, Main Agar Saamne, and the very eerie Yahan Pe Sab Shanti Shanti Hai.
9. The forest scenes are by far the best created in Bollywood
Makeagif
This is an out and out Bipasha Basu film with an equally excellent supporting cast. She might have made a debut with Ajnabee but here as a lead with her percect timing of scare and thrill makes Raaz a must watch. The scenes where leaves dry leaves blows makes this a scary scene.
(Also read: 11 Horror Movies that you have to watch lights on)
(To get the latest updates from Bollywood and Hollywood, keep reading Indiatimes Entertainment.)
We would like to say thanks to the author of this post for this remarkable web content
)
[summary] => Bollywood is churning out new content each day. During the pandemic we saw a flock of new actors making their way into OTT platforms making movies that are relatable and leave you hooked. We see many genres, from thriller, rom-com, action and even gory and abusive. But how many Bollywood filmmakers have been able to ... Read more
[atom_content] =>
Bollywood is churning out new content each day. During the pandemic we saw a flock of new actors making their way into OTT platforms making movies that are relatable and leave you hooked.
We see many genres, from thriller, rom-com, action and even gory and abusive. But how many Bollywood filmmakers have been able to roll out good horror films.
We saw a few films in the recent past like Stree and Roohi which has comic elements too but we do really miss an out and out scary Hindi film.
With very little attention given to my favourite genre, here’s why I think why Bipasha Basu’s Raaz continues to rule the roost still date.
1. Eerie, creepy that makes the plot interesting
Instagram
Set out in Ooty, Sanjana and Aditya are trying to save their failed marriage. But little do they know that the romantic destination will actually keep them on the edge.
2. Bipasha’s debut as the queen of horror
Tumbler
We are grateful, Bollywood recognised her potential as a queen of horror. Bipasha’s timing in the film is to watch out for. The scene where she is gardening and an axe falls out of nowhere, not once but many times, can definitely send shivers.
3. You cannot unhear Sanjanaaaaaaaaaaa
Twitter
That name can be heard in the whole film. Sanjana is Bipasha’s name but she can hear it in the winds right into her ear every time she is home alone. The way her hair flies and she turns out can horrify you.
4. A movie that was scary and sexy!
Twitter
Not just Bipasha Basu, even ghost has been handpicked as the sexy one. Malini Sharma as Malini Malik who plays the evil spirit), daughter of retired Colonel, is not your regular ghost with white face in a white saree. She is scary, sexy and too pretty to let go sometimes.
5. Ashutosh Rana’s role as professor is scarier than Dushman
MakeAGif
Playing the role of a professor, you would think, he is a man with solutions. In some parts, he is shown he is but the way he acts out in certain sceens where he senses the ghost and his untimely death will make you wonder if he was scary in this film or in Dushman.
6. Its not a typical ghost in a white saree
screengrab
Not a single white saree shot. Infact, the ghost is sassy. Before becoming a evil spirit, director Vikram Bhatt ensured Malini was a pretty girl with a husky voice and who drove her father’s jeep. Portraying the role of a mentally disturbed girl, who falls in love with Dino Morea.
7. Box office hit which lead to more installments
screengrab
Many reboots came and went but the original continues to slay till date. Ooty, wooden house, hill station vibe makes Bipasha-Dino starrer a perfect setting for a horror movie.
8. Unlike other horror movies, this one has the best music album
The music of the film was composed by Nadeem Shravan and the songs were mostly sung by Udit Narayan and Alka Yagnik, what else do we need from the 90s and 2000s. Bring back your headphones to listen to songs like Aapke Pyaar Mein, Jo Bhi Kasmein Khayi Thi, Main Agar Saamne, and the very eerie Yahan Pe Sab Shanti Shanti Hai.
9. The forest scenes are by far the best created in Bollywood
Makeagif
This is an out and out Bipasha Basu film with an equally excellent supporting cast. She might have made a debut with Ajnabee but here as a lead with her percect timing of scare and thrill makes Raaz a must watch. The scenes where leaves dry leaves blows makes this a scary scene.
(Also read: 11 Horror Movies that you have to watch lights on)
(To get the latest updates from Bollywood and Hollywood, keep reading Indiatimes Entertainment.)
We would like to say thanks to the author of this post for this remarkable web content
[date_timestamp] => 1645357842
)
[7] => Array
(
[title] => The two universal fears that make horror our tropiest genre
[link] => https://mov.movs.world/scream-away/the-two-universal-fears-that-make-horror-our-tropiest-genre/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sun, 20 Feb 2022 00:55:21 +0000
[category] => Scream AwayfearsGenreHorrortropiestUniversal
[guid] => https://mov.movs.world/?p=42674
[description] => Every genre of story has its standing tropes. Westerns have black hats and white hats, face-offs between lone gunmen standing in the middle of otherwise deserted streets, and nearly mandatory shots of wide-open vistas under bright blue skies. Rom-coms have obligatory meet-cutes and post-blow-up reconciliations. Murder mysteries have their quirky detectives who make unlikely connections, ... Read more
[content] => Array
(
[encoded] =>
Every genre of story has its standing tropes. Westerns have black hats and white hats, face-offs between lone gunmen standing in the middle of otherwise deserted streets, and nearly mandatory shots of wide-open vistas under bright blue skies. Rom-coms have obligatory meet-cutes and post-blow-up reconciliations. Murder mysteries have their quirky detectives who make unlikely connections, noir stories have their femmes fatales and grievous setbacks for hardbitten heroes, musicals have their ?I Wish? declarations of intent and their supposedly spontaneous choreography. In any genre you can name, there are long-established patterns for efficient, effective storytelling, and creators who have to decide whether to subvert those expectations, or give longtime fans of the genre what they?ve been trained to want to see.
But horror is the most trope-driven genre of fiction out there. It?s hard to name a single horror story or movie or TV show that doesn?t either draw on some form of familiar, longstanding trope, or establish one that?s subsequently been copied over and over. Horror is constantly being reinvented and redesigned, and it?s the genre that evolves fastest in response to every new cultural, social, or technological shift. But it?s still a genre of recurrence, of traceable and echoing patterns that link the first spooky stories told around a campfire to the nonstop barrage of cheap, enthusiastic indie films pouring onto streaming services today.
There?s a fundamental reason for that. And given what a wide field horror has become, and how hugely horror stories vary, it?s a counterintuitive reason. At its bloody, dripping heart, horror is about manipulating human fear to thrill and unsettle an audience. And humanity is really only afraid of a few basic things.
The fundamentals of fear
Image: 20th Century Fox
Most people, if pressed, could lay out at least a few things they?re afraid of, whether they?re physical things like spiders or violent strangers, or more abstract possibilities, like unemployment or publicly humiliation. Horror stories similarly lay out a thousand scary scenarios, from the plausible (getting lost in the woods) to the possible but only remotely likely (getting eaten by a shark) to the downright impossible. (As much as M. Night Shyamalan wants people watching The Happening to be frightened by the wind spreading malevolent pheromones that make people spontaneously impale themselves on whatever comes to hand, that isn?t exactly a common occurrence.)
But virtually all human fears come down to two baseline terrors, and the first one is the biggest, darkest, and most far-reaching: the fear of the unknown. Nothing unnerves people like the understanding that they might have to deal with something they don?t have the experience or tools to deal with. And while horror stories put a thousand faces on that fear, after a while ? after enough experience with the genre ? all of those faces start to look like the bones underneath them.
?Fear of the unknown? can be splintered and reskinned in many, many ways to give horror stories their specificity. People are afraid of death, because they can only guess at what comes afterward. They?re afraid of the dark, because it has the potential to hide just about anything they could imagine. They?re afraid of newly created things, because the possible downsides haven?t fully been established yet. (Mary Shelley?s Frankenstein is effectively a scary story about the possible horrors electricity could bring to society, which is something we don?t worry about much anymore ? we?ve moved on to making horror movies fussing over whether the internet might make ghosts better at murdering us.)
And on an atavistic level that?s just another form of ?fear of death,? people are afraid of being prey instead of predators. Which is why so many horror stories feature things that want to eat us, from real-world animals to creatures out of folklore, from our own ill-advised scientific creations to unknown critters from other worlds.
Beyond the basic survival questions of what wants to devour us, lay eggs in us, or just kill us for fun, we?re afraid of the unknowns inherent in our own bodies. Science doesn?t fully understand how the human brain works, or how to fix it when something goes wrong. So we have an endless array of exploitative and paranoid movies about insanity, which can run the gamut from complicated cultural commentaries like American Psycho to mad-slasher movies like the Halloween and Friday the 13th franchises, where ?insane? is synonymous with ?murderous, implacable, and nearly invulnerable.?
We?re similarly afraid of what happens if our bodies break down in ways we can?t predict or control, which drives fear-of-aging movies like Shyamalan?s Old and The Visit, stories about fast-spreading diseases like Stephen King?s The Stand, andbody-snatchers stories where something unknown has the power to steal our shapes and identities. We?re also terrified of what happens if someone else damages our bodies, leading to decades of increasingly graphic horror stories about kidnappers and torturers, sadists and rapists, serial killers and mad scientists.
Other people are a constant source of unknowns. Even with your nearest and dearest, you can never actually directly access what someone else is thinking. It?s a short jump from there to the knee-jerk fear of anything that looks or acts human enough to fool people, but has a secret face and a secret agenda, and might sidle up to us in a tempting way. Vampires, fairy-tale shapeshifters, and Scarlett Johansson?s alluring hunter-alien in Under the Skin are all just extreme ways of expressing our fears that our trust in other people might be misplaced, and that we might drop our guards around someone (or something) with ill intent.
Even the most innovative horror films of the last decade ultimately fold into that basic, fundamental fear of the unknown. The adversary in It Follows is scary because it?s incredibly strong, implacable, and deeply malevolent, and because it always looks like someone its victim knows, until it attacks. But above all, it?s scary because no one knows what it is, or how to stop it. The titular creature in The Babadook is unnerving because of its eerie presentation and the mysteries around what it is and what it wants ? and even when those questions seem to be answered, it still represents the fundamental unknowability of people. Hereditary is full of shocks that push the envelope on viewers? discomfort, but it?s ultimately about people with hidden agendas that the protagonists don?t know about, and don?t know how to counter, until it?s too late. Scratch just about any horror movie?s surface, and the blood beneath it is just that old fear of the unknown, hiding under a new and elaborate skin.
The second source of fear
Photo: Lionsgate
But fear of the unknown is only half of the big picture of horror tropes. The only other baseline terror that matches it, in terms of getting to the root of horror stories, is the fear of isolation. Not only are we afraid of facing something we don?t understand, we?re afraid we might have to do it alone. Most people grow up with at least some level of societal conditioning that says there are structures in place to protect, guide, and guard us.
Life experience may give us plenty of reasons to be cynical about how much the government, the police, our teachers and bosses and parents, or any other designated authority can or will help us when we?re in trouble. But even so, horror stories are strongest when they cut out even the possibility of that appeal to authority.
Horror creators have found chilling ways to exploit the threat and dread of isolation, from early Gothic conventions, like sending a character off to a distant country house to live among strangers, to modern ones, like unplugging a character?s phone every time he tries to charge it. More futuristic horror allows a variety of new ways to isolate people: The fear behind Alien?s tagline, ?In space, no one can hear you scream,? is the implication that the victims are literal light-years from comfort or help.
Remote cabins in the woods, defunct and abandoned carnivals or farms or ghost towns ? they?re all tropes because they all represent different kinds of isolation. The cops who dismiss the protagonist as hysterical, the mayor who refuses to close the beaches after the shark attacks, the mentor who gets body-snatched first and lures other people to their doom ? they?re all tropes because they help shut down any sense that protection or rescue is an option. Humans are social animals, and we have the same sense as any other pack creature that there?s safety in numbers, and danger in being left behind for whatever predators follow.
The promise of horror
Photo: Paramount Pictures
But there are only so many ways to isolate people, just as there are only so many ways to depict the unknown. So horror constantly returns to long-established ideas and time-tested images, because the well of fears that are universal enough to unnerve a mass audience only runs so deep. Finding a new way into these basic ideas presents a huge challenge for horror creators, given what a crowded and heavily mined field horror has become. That?s the threat of walking on well-trod ground: If a given book, game, film, or show doesn?t live up to the best examples of the genre, there?s a cadre of horror fans who are all too eager to loudly sigh and point at some previous example that did the trope better.
But the huge library of established horror tropes represents an opportunity, too. For one thing, horror?s heavy use of tropes means that creators can draw on the successes of everyone who worked the terror mines before them. People watching a great horror movie aren?t necessarily frightened solely by what?s onscreen. Their memories of how badly similar stories have ended for other characters help build the tension. One reason film-franchise killers like Michael Myers, Jason Voorhees, Jigsaw, or Pinhead still keep viewers on the edge of their seats is because they know exactly what happens to most of the unlucky people who encounter them. When a knife-wielding slasher stalks a victim in a horror game, or characters in a ghost story start feeling an unexplained chill, or the words ?Day One? ominously appear onscreen in a zombie movie, horror audiences feel a frission of anticipation, because they know what?s coming ? they just don?t know when, or how bad it?ll get.
Even for creators drawing on the exact same trope ? say, that fear of shark attacks, and of being eaten ? there?s still room for an infinite variety of tones and themes, approaches and angles. World-building and character-framing can turn one shark story into a heightened classic like Jaws, another into a giddy thriller like Deep Blue Sea, and a third into a muddled middle-ground movie like Great White. Horror stories? effectiveness generally don?t come from which tropes they use, so much as how well they build stories around them.
It?s also well worth remembering that most of the greatest and most memorable horror stories mix and match tropes, taking advantage of the infinite number of combinations. Stephen King?s IT isn?t just an evil-clown story. Its monster is also a shapeshifter and mind-reader, an inhuman thing that can look as human as it needs to be in order to prey on the most vulnerable and isolated people it can find. The Thing isn?t just an alien story, it?s a bodysnatcher movie and a study in isolation and ?Who can you trust?? paranoid dynamics. The Exorcist is about an unknowable and powerful entity, but it?s also about loss of innocence, loss of physical control, loss of faith, and the gross-out factor of being covered in green vomit. And so forth and so on.
Horror stories all come from the simplest promise: We?re going to scare you. It?s exciting to be afraid for a little while, and then remember that you were safe all along. More often than not, fulfilling that promise means drawing on some of the tools that always work, and always have worked, even if the details change over time. But there?s a darker, more complex promise running under the genre: We don?t ever have to worry about running out of stories that scare us, because we?re always going to be scared of the same two things. We can never know everything, and we can never escape the ways in which we?re alone. That?s bad news for humanity, maybe, but it?s great for horror creators. They may have to go back to the same well over and over for scares, but it?s a deep, dark well, and it?s one we?re never really going to be able to fill.
We would like to give thanks to the writer of this short article for this outstanding material
)
[summary] => Every genre of story has its standing tropes. Westerns have black hats and white hats, face-offs between lone gunmen standing in the middle of otherwise deserted streets, and nearly mandatory shots of wide-open vistas under bright blue skies. Rom-coms have obligatory meet-cutes and post-blow-up reconciliations. Murder mysteries have their quirky detectives who make unlikely connections, ... Read more
[atom_content] =>
Every genre of story has its standing tropes. Westerns have black hats and white hats, face-offs between lone gunmen standing in the middle of otherwise deserted streets, and nearly mandatory shots of wide-open vistas under bright blue skies. Rom-coms have obligatory meet-cutes and post-blow-up reconciliations. Murder mysteries have their quirky detectives who make unlikely connections, noir stories have their femmes fatales and grievous setbacks for hardbitten heroes, musicals have their ?I Wish? declarations of intent and their supposedly spontaneous choreography. In any genre you can name, there are long-established patterns for efficient, effective storytelling, and creators who have to decide whether to subvert those expectations, or give longtime fans of the genre what they?ve been trained to want to see.
But horror is the most trope-driven genre of fiction out there. It?s hard to name a single horror story or movie or TV show that doesn?t either draw on some form of familiar, longstanding trope, or establish one that?s subsequently been copied over and over. Horror is constantly being reinvented and redesigned, and it?s the genre that evolves fastest in response to every new cultural, social, or technological shift. But it?s still a genre of recurrence, of traceable and echoing patterns that link the first spooky stories told around a campfire to the nonstop barrage of cheap, enthusiastic indie films pouring onto streaming services today.
There?s a fundamental reason for that. And given what a wide field horror has become, and how hugely horror stories vary, it?s a counterintuitive reason. At its bloody, dripping heart, horror is about manipulating human fear to thrill and unsettle an audience. And humanity is really only afraid of a few basic things.
The fundamentals of fear
Image: 20th Century Fox
Most people, if pressed, could lay out at least a few things they?re afraid of, whether they?re physical things like spiders or violent strangers, or more abstract possibilities, like unemployment or publicly humiliation. Horror stories similarly lay out a thousand scary scenarios, from the plausible (getting lost in the woods) to the possible but only remotely likely (getting eaten by a shark) to the downright impossible. (As much as M. Night Shyamalan wants people watching The Happening to be frightened by the wind spreading malevolent pheromones that make people spontaneously impale themselves on whatever comes to hand, that isn?t exactly a common occurrence.)
But virtually all human fears come down to two baseline terrors, and the first one is the biggest, darkest, and most far-reaching: the fear of the unknown. Nothing unnerves people like the understanding that they might have to deal with something they don?t have the experience or tools to deal with. And while horror stories put a thousand faces on that fear, after a while ? after enough experience with the genre ? all of those faces start to look like the bones underneath them.
?Fear of the unknown? can be splintered and reskinned in many, many ways to give horror stories their specificity. People are afraid of death, because they can only guess at what comes afterward. They?re afraid of the dark, because it has the potential to hide just about anything they could imagine. They?re afraid of newly created things, because the possible downsides haven?t fully been established yet. (Mary Shelley?s Frankenstein is effectively a scary story about the possible horrors electricity could bring to society, which is something we don?t worry about much anymore ? we?ve moved on to making horror movies fussing over whether the internet might make ghosts better at murdering us.)
And on an atavistic level that?s just another form of ?fear of death,? people are afraid of being prey instead of predators. Which is why so many horror stories feature things that want to eat us, from real-world animals to creatures out of folklore, from our own ill-advised scientific creations to unknown critters from other worlds.
Beyond the basic survival questions of what wants to devour us, lay eggs in us, or just kill us for fun, we?re afraid of the unknowns inherent in our own bodies. Science doesn?t fully understand how the human brain works, or how to fix it when something goes wrong. So we have an endless array of exploitative and paranoid movies about insanity, which can run the gamut from complicated cultural commentaries like American Psycho to mad-slasher movies like the Halloween and Friday the 13th franchises, where ?insane? is synonymous with ?murderous, implacable, and nearly invulnerable.?
We?re similarly afraid of what happens if our bodies break down in ways we can?t predict or control, which drives fear-of-aging movies like Shyamalan?s Old and The Visit, stories about fast-spreading diseases like Stephen King?s The Stand, andbody-snatchers stories where something unknown has the power to steal our shapes and identities. We?re also terrified of what happens if someone else damages our bodies, leading to decades of increasingly graphic horror stories about kidnappers and torturers, sadists and rapists, serial killers and mad scientists.
Other people are a constant source of unknowns. Even with your nearest and dearest, you can never actually directly access what someone else is thinking. It?s a short jump from there to the knee-jerk fear of anything that looks or acts human enough to fool people, but has a secret face and a secret agenda, and might sidle up to us in a tempting way. Vampires, fairy-tale shapeshifters, and Scarlett Johansson?s alluring hunter-alien in Under the Skin are all just extreme ways of expressing our fears that our trust in other people might be misplaced, and that we might drop our guards around someone (or something) with ill intent.
Even the most innovative horror films of the last decade ultimately fold into that basic, fundamental fear of the unknown. The adversary in It Follows is scary because it?s incredibly strong, implacable, and deeply malevolent, and because it always looks like someone its victim knows, until it attacks. But above all, it?s scary because no one knows what it is, or how to stop it. The titular creature in The Babadook is unnerving because of its eerie presentation and the mysteries around what it is and what it wants ? and even when those questions seem to be answered, it still represents the fundamental unknowability of people. Hereditary is full of shocks that push the envelope on viewers? discomfort, but it?s ultimately about people with hidden agendas that the protagonists don?t know about, and don?t know how to counter, until it?s too late. Scratch just about any horror movie?s surface, and the blood beneath it is just that old fear of the unknown, hiding under a new and elaborate skin.
The second source of fear
Photo: Lionsgate
But fear of the unknown is only half of the big picture of horror tropes. The only other baseline terror that matches it, in terms of getting to the root of horror stories, is the fear of isolation. Not only are we afraid of facing something we don?t understand, we?re afraid we might have to do it alone. Most people grow up with at least some level of societal conditioning that says there are structures in place to protect, guide, and guard us.
Life experience may give us plenty of reasons to be cynical about how much the government, the police, our teachers and bosses and parents, or any other designated authority can or will help us when we?re in trouble. But even so, horror stories are strongest when they cut out even the possibility of that appeal to authority.
Horror creators have found chilling ways to exploit the threat and dread of isolation, from early Gothic conventions, like sending a character off to a distant country house to live among strangers, to modern ones, like unplugging a character?s phone every time he tries to charge it. More futuristic horror allows a variety of new ways to isolate people: The fear behind Alien?s tagline, ?In space, no one can hear you scream,? is the implication that the victims are literal light-years from comfort or help.
Remote cabins in the woods, defunct and abandoned carnivals or farms or ghost towns ? they?re all tropes because they all represent different kinds of isolation. The cops who dismiss the protagonist as hysterical, the mayor who refuses to close the beaches after the shark attacks, the mentor who gets body-snatched first and lures other people to their doom ? they?re all tropes because they help shut down any sense that protection or rescue is an option. Humans are social animals, and we have the same sense as any other pack creature that there?s safety in numbers, and danger in being left behind for whatever predators follow.
The promise of horror
Photo: Paramount Pictures
But there are only so many ways to isolate people, just as there are only so many ways to depict the unknown. So horror constantly returns to long-established ideas and time-tested images, because the well of fears that are universal enough to unnerve a mass audience only runs so deep. Finding a new way into these basic ideas presents a huge challenge for horror creators, given what a crowded and heavily mined field horror has become. That?s the threat of walking on well-trod ground: If a given book, game, film, or show doesn?t live up to the best examples of the genre, there?s a cadre of horror fans who are all too eager to loudly sigh and point at some previous example that did the trope better.
But the huge library of established horror tropes represents an opportunity, too. For one thing, horror?s heavy use of tropes means that creators can draw on the successes of everyone who worked the terror mines before them. People watching a great horror movie aren?t necessarily frightened solely by what?s onscreen. Their memories of how badly similar stories have ended for other characters help build the tension. One reason film-franchise killers like Michael Myers, Jason Voorhees, Jigsaw, or Pinhead still keep viewers on the edge of their seats is because they know exactly what happens to most of the unlucky people who encounter them. When a knife-wielding slasher stalks a victim in a horror game, or characters in a ghost story start feeling an unexplained chill, or the words ?Day One? ominously appear onscreen in a zombie movie, horror audiences feel a frission of anticipation, because they know what?s coming ? they just don?t know when, or how bad it?ll get.
Even for creators drawing on the exact same trope ? say, that fear of shark attacks, and of being eaten ? there?s still room for an infinite variety of tones and themes, approaches and angles. World-building and character-framing can turn one shark story into a heightened classic like Jaws, another into a giddy thriller like Deep Blue Sea, and a third into a muddled middle-ground movie like Great White. Horror stories? effectiveness generally don?t come from which tropes they use, so much as how well they build stories around them.
It?s also well worth remembering that most of the greatest and most memorable horror stories mix and match tropes, taking advantage of the infinite number of combinations. Stephen King?s IT isn?t just an evil-clown story. Its monster is also a shapeshifter and mind-reader, an inhuman thing that can look as human as it needs to be in order to prey on the most vulnerable and isolated people it can find. The Thing isn?t just an alien story, it?s a bodysnatcher movie and a study in isolation and ?Who can you trust?? paranoid dynamics. The Exorcist is about an unknowable and powerful entity, but it?s also about loss of innocence, loss of physical control, loss of faith, and the gross-out factor of being covered in green vomit. And so forth and so on.
Horror stories all come from the simplest promise: We?re going to scare you. It?s exciting to be afraid for a little while, and then remember that you were safe all along. More often than not, fulfilling that promise means drawing on some of the tools that always work, and always have worked, even if the details change over time. But there?s a darker, more complex promise running under the genre: We don?t ever have to worry about running out of stories that scare us, because we?re always going to be scared of the same two things. We can never know everything, and we can never escape the ways in which we?re alone. That?s bad news for humanity, maybe, but it?s great for horror creators. They may have to go back to the same well over and over for scares, but it?s a deep, dark well, and it?s one we?re never really going to be able to fill.
We would like to give thanks to the writer of this short article for this outstanding material
[date_timestamp] => 1645318521
)
[8] => Array
(
[title] => This Low Budget Horror Movie Has A Truly Disappointing Monster At Its Core
[link] => https://mov.movs.world/scream-away/this-low-budget-horror-movie-has-a-truly-disappointing-monster-at-its-core/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sat, 19 Feb 2022 23:32:37 +0000
[category] => Scream AwaybudgetcoreDisappointingHorrorMonsterMovie
[guid] => https://mov.movs.world/?p=42639
[description] => Shenae Grimes-Beech is famous for starring on Degrassi and the reboot of Beverly Hills 90210, and while she hasn’t been acting for a while and is focusing on her family, YouTube channel, and podcast, her last role was in the 2018 horror movie The Rake. The movie has a few common features of horror movies: ... Read more
[content] => Array
(
[encoded] =>
Shenae Grimes-Beech is famous for starring on Degrassi and the reboot of Beverly Hills 90210, and while she hasn’t been acting for a while and is focusing on her family, YouTube channel, and podcast, her last role was in the 2018 horror movie The Rake. The movie has a few common features of horror movies: main characters with a traumatic past and family drama who are dealing with a scary supernatural situation. But unfortunately, the movie fails in many ways.
While horror fans might check out The Rake hoping to see a fascinating movie about a monster who gives them nightmares, there isn’t much that is scary about this film. The creature in this movie is one of the worst of the genre.
GAMERANT VIDEO OF THE DAY
RELATED: Hot Take: 5 Beloved Horror Movies That Are Overrated
There are many horror movies based on Creepypasta stories, and the 2018 horror movie The Rake is also adapted from one of these scary tales. According to the Villains Wiki page for The Rake, the monster is a “humanoid creature” who follows people around for a long time and who hurts them when getting angry or upset. Back in 2005, someone shared a story about The Rake monster on 4chan and the website describes it as “pale, bald and skinny humanoid-like entity with long limbs.” While this might sound creepy and reading about this creature might make it seem like it would work perfectly in a horror movie, the 2018 film just doesn’t work and that’s all thanks to the monster which doesn’t inspire much interest from audiences.
The Rake murders Ashley (Shenae Grimes-Beech) and Ben’s (Stephen Brodie) parents, and now that it has been two decades since that awful night, they’re together again and talking about their thoughts and feelings about the horror. The movie tries to use popular thriller and horror tropes like someone investigating and doing detective work, as their dad has a patient who thinks about The Rake creature all the time. This isn’t scary, though, as it’s unclear how this creature is different from the many monsters who have appeared in horror movies over the past few decades.
The movie only gives some character traits to Ashley, showing that she’s trying to move on with her life while wondering how she can given that she’s grieving her parents and worried about the creature. Ashley’s cousin Nicole (Rachel Melvin) and her husband Andrew (Joey Bicicchi) don’t have much of a personality and they seem less worried about her than totally annoyed. Ashley is staying with them and still affected by the monster who killed her mom and dad, as she has nightmares and anxiety. Nicole and Andrew do the typical “she’s just crazy” thing and accuse Ashley of making something out of nothing and panicking for no reason. This is not only unfair and the opposite of compassionate, as Ashley is clearly dealing with trauma, but it also doesn’t push the story forward or add anything at all. Audiences have definitely seen this a million times before.
While Ashley is scared of The Rake and convinced that they will come back for her, the monster ends up falling into yet another trope: a creature who possesses and takes over people. This is what happened to Jacob Murphy, who is the one who murdered Ashley and Ben’s parents and was taken over by The Rake. And this is what happens near the movie’s conclusion when The Rake takes over Ben. Horror fans have seen this happen so many times that it’s hard to know why this movie couldn’t have brought something fresher to the table. It feels like this was always meant to take place and that Ashley, Ben, Nicole, and Andrew had zero choice in the matter. There are so many fascinating movie monsters, like the monster in The Thing, and it’s so disappointing that the characters seem to have no will to fight back or any idea what to do here.
When compared to another Creepypasta myth Slender Man, The Rake doesn’t hold much interest. Slender Man looks much creepier but even the 2018 movie Slender Man is dull and uninspiring, telling the story of teenage girls who become possessed by this figure. This story was much more well-known than The Rake and yet it didn’t result in an interesting movie. Both Slender Man and The Rake
There are good horror movies with unclear endings, but The Rake fails in not telling audiences what has happened to one of the main characters. It’s not clear if Nicole has died, and as there are sirens which tells audiences that someone might try to save her, viewers are left wondering why they watched this brief movie that is less than 90 minutes long. Ashley and Ben couldn’t defeat The Rake and take control of their lives and futures, which makes this ending boring. No one wants to see a horror film where the creature/monster/supernatural force/serial killer wins out and there is no chance for anyone to fight for survival.
NEXT: 5 Horror Movies That Had Darker Original Endings
Negative Atmosphere Looks Like Dead Space With Even Scarier Monsters
Indie studio Sunscorched Studios releases a creepy new gameplay teaser for its Dead Space-like sci-fi horror game Negative Atmosphere.
Read Next
About The Author
Aya Tsintziras (26 Articles Published)
Aya Tsintziras is a freelance writer who writes about TV, movies, and has a particular interest in the horror genre. She has a Political Science degree from the University of Toronto and a Masters of Journalism from Ryerson University. She loves coffee, reading, working out, and watching TV. She lives in Toronto.
More
From Aya Tsintziras
We would love to say thanks to the author of this article for this outstanding material
)
[summary] => Shenae Grimes-Beech is famous for starring on Degrassi and the reboot of Beverly Hills 90210, and while she hasn’t been acting for a while and is focusing on her family, YouTube channel, and podcast, her last role was in the 2018 horror movie The Rake. The movie has a few common features of horror movies: ... Read more
[atom_content] =>
Shenae Grimes-Beech is famous for starring on Degrassi and the reboot of Beverly Hills 90210, and while she hasn’t been acting for a while and is focusing on her family, YouTube channel, and podcast, her last role was in the 2018 horror movie The Rake. The movie has a few common features of horror movies: main characters with a traumatic past and family drama who are dealing with a scary supernatural situation. But unfortunately, the movie fails in many ways.
While horror fans might check out The Rake hoping to see a fascinating movie about a monster who gives them nightmares, there isn’t much that is scary about this film. The creature in this movie is one of the worst of the genre.
GAMERANT VIDEO OF THE DAY
RELATED: Hot Take: 5 Beloved Horror Movies That Are Overrated
There are many horror movies based on Creepypasta stories, and the 2018 horror movie The Rake is also adapted from one of these scary tales. According to the Villains Wiki page for The Rake, the monster is a “humanoid creature” who follows people around for a long time and who hurts them when getting angry or upset. Back in 2005, someone shared a story about The Rake monster on 4chan and the website describes it as “pale, bald and skinny humanoid-like entity with long limbs.” While this might sound creepy and reading about this creature might make it seem like it would work perfectly in a horror movie, the 2018 film just doesn’t work and that’s all thanks to the monster which doesn’t inspire much interest from audiences.
The Rake murders Ashley (Shenae Grimes-Beech) and Ben’s (Stephen Brodie) parents, and now that it has been two decades since that awful night, they’re together again and talking about their thoughts and feelings about the horror. The movie tries to use popular thriller and horror tropes like someone investigating and doing detective work, as their dad has a patient who thinks about The Rake creature all the time. This isn’t scary, though, as it’s unclear how this creature is different from the many monsters who have appeared in horror movies over the past few decades.
The movie only gives some character traits to Ashley, showing that she’s trying to move on with her life while wondering how she can given that she’s grieving her parents and worried about the creature. Ashley’s cousin Nicole (Rachel Melvin) and her husband Andrew (Joey Bicicchi) don’t have much of a personality and they seem less worried about her than totally annoyed. Ashley is staying with them and still affected by the monster who killed her mom and dad, as she has nightmares and anxiety. Nicole and Andrew do the typical “she’s just crazy” thing and accuse Ashley of making something out of nothing and panicking for no reason. This is not only unfair and the opposite of compassionate, as Ashley is clearly dealing with trauma, but it also doesn’t push the story forward or add anything at all. Audiences have definitely seen this a million times before.
While Ashley is scared of The Rake and convinced that they will come back for her, the monster ends up falling into yet another trope: a creature who possesses and takes over people. This is what happened to Jacob Murphy, who is the one who murdered Ashley and Ben’s parents and was taken over by The Rake. And this is what happens near the movie’s conclusion when The Rake takes over Ben. Horror fans have seen this happen so many times that it’s hard to know why this movie couldn’t have brought something fresher to the table. It feels like this was always meant to take place and that Ashley, Ben, Nicole, and Andrew had zero choice in the matter. There are so many fascinating movie monsters, like the monster in The Thing, and it’s so disappointing that the characters seem to have no will to fight back or any idea what to do here.
When compared to another Creepypasta myth Slender Man, The Rake doesn’t hold much interest. Slender Man looks much creepier but even the 2018 movie Slender Man is dull and uninspiring, telling the story of teenage girls who become possessed by this figure. This story was much more well-known than The Rake and yet it didn’t result in an interesting movie. Both Slender Man and The Rake
There are good horror movies with unclear endings, but The Rake fails in not telling audiences what has happened to one of the main characters. It’s not clear if Nicole has died, and as there are sirens which tells audiences that someone might try to save her, viewers are left wondering why they watched this brief movie that is less than 90 minutes long. Ashley and Ben couldn’t defeat The Rake and take control of their lives and futures, which makes this ending boring. No one wants to see a horror film where the creature/monster/supernatural force/serial killer wins out and there is no chance for anyone to fight for survival.
NEXT: 5 Horror Movies That Had Darker Original Endings
Negative Atmosphere Looks Like Dead Space With Even Scarier Monsters
Indie studio Sunscorched Studios releases a creepy new gameplay teaser for its Dead Space-like sci-fi horror game Negative Atmosphere.
Read Next
About The Author
Aya Tsintziras (26 Articles Published)
Aya Tsintziras is a freelance writer who writes about TV, movies, and has a particular interest in the horror genre. She has a Political Science degree from the University of Toronto and a Masters of Journalism from Ryerson University. She loves coffee, reading, working out, and watching TV. She lives in Toronto.
More
From Aya Tsintziras
We would love to say thanks to the author of this article for this outstanding material
[date_timestamp] => 1645313557
)
[9] => Array
(
[title] => Wolf Like Me Used the Jaws Formula ? But Failed to Deliver
[link] => https://mov.movs.world/scream-away/wolf-like-me-used-the-jaws-formula-but-failed-to-deliver/
[dc] => Array
(
[creator] => Harry World
)
[pubdate] => Sat, 19 Feb 2022 22:09:48 +0000
[category] => Scream AwaydeliverFailedformulaJawsWolf
[guid] => https://mov.movs.world/?p=42598
[description] => Let’s dissect Season 1 of Peacock’s Wolf Like Me and how it tried to replicate Jaws’ monster formula but didn’t end up delivering in the finale. WARNING: The following contains spoilers for Wolf Like Me, now streaming on Peacock. One of the biggest inspirations for horror movies focused on monsters lurking in the shadows and ... Read more
[content] => Array
(
[encoded] =>
Let’s dissect Season 1 of Peacock’s Wolf Like Me and how it tried to replicate Jaws’ monster formula but didn’t end up delivering in the finale.
WARNING: The following contains spoilers for Wolf Like Me, now streaming on Peacock.
One of the biggest inspirations for horror movies focused on monsters lurking in the shadows and seas is Jaws. Steven Spielberg left people scared to go into the water in the ’70s, and he did it without using too many overt scenes of the shark devouring victims until the very end. It’s masterclass filmmaking, with Spielberg instead allowing the audience to immerse themselves in fear, suspense and tension via their own imagination.
He opted for first-person perspectives from the water, as well as jump-scares with people being dragged down in rapid fashion. The quiet chaos was, in fact, propelled by just the sight of the fin, making it a big moment when the creature was eventually revealed. However, while Wolf Like Me tried to duplicate this formula in Season 1, it failed to deliver.
RELATED: How Wolf Like Me Sets Up Season 2
Other properties which followed this style include Cloverfield and Underwater, but seeing as they were movies that inevitable had great-looking monsters, it was easier to be patient for just under two hours. However, with Wolf Like Me, while the six episodes ran at about three hours in total, the slow build didn’t have that epic reveal when Isla Fisher’s Mary unleashed her full werewolf form.
The wolf didn’t create a proper sense of anticipation because there weren’t that many kills in the season. All she did was lock herself in her cellar with goats and chickens, but fans didn’t witness the carnage left behind. Had Anna morphed and torn someone apart earlier, that would have helped.
RELATED: Wolf Like Me’s Bloody Ending, Explained
Sadly, in the finale, when she mauled two bandits to save Gary and Emma, the editing and overall action sequence were lacking. At this point, there wasn’t any need to be coy and hide anything, as Mary was humanized enough, so the show could have had gruesome shots of claws ripping skin and such. Without these, the reveal felt very light after all that emotional buildup. To make it worse, the wolf’s design wasn’t that intimidating. It could have been scary like Underworld or even The Wolf Man rather than something akin to tacky cosplay.
It didn’t have to be CGI, but the practical design and effects just felt more comical than anything. Granted, the show did veer into horror territory in one scene, when the wolf grabbed one of the bandit’s head and walked off to feast, but that’s about it. In addition, this disappointment could have been alleviated had there been a breathtaking transformation, but that didn’t even occur on-camera, giving the impression there were heavy budgetary constraints that limited the amount of time the wolf could appear.
It’s something Game of Thrones ran into with its direwolves and dragons, but still, Wolf Like Me just needed a single money shot to balance all the mystery in the season. After all, Jaws had a goofy-looking shark, but the clinical, gory and strategic deaths before, at a time where tech was limited, helped to amp up the mood and atmosphere, which Wolf Like Me set up but couldn’t pay off.
All six episodes of Wolf Like Me are available on Peacock.
KEEP READING: Wolf Like Me Runs From Developing Its Interesting Romantic Premise
A Fan Theory Connects The Simpsons & South Park’s Unluckiest Characters
About The Author
Renaldo Matadeen (7594 Articles Published)
I’m a former Chemical Engineer. It was boring so I decided to write about things I love. On the geek side of things, I write about comics, cartoons, video games, television, movies and basically, all things nerdy. I also write about music in terms of punk, indie, hardcore and emo because well, they rock! If you’re bored by now, then you also don’t want to hear that I write for ESPN on the PR side of things. And yes, I’ve written sports for them too! Not bad for someone from the Caribbean, eh? To top all this off, I’ve scribed short films and documentaries, conceptualizing stories and scripts from a human interest and social justice perspective. Business-wise, I make big cheddar (not really) as a copywriter and digital strategist working with some of the top brands in the Latin America region. In closing, let me remind you that the geek shall inherit the Earth. Oh, FYI, I’d love to write the Gargoyles movie for Disney. YOLO. That said, I’m on Twitter @RenaldoMatadeen. So holler.
More From Renaldo Matadeen
We wish to say thanks to the author of this post for this remarkable web content
)
[summary] => Let’s dissect Season 1 of Peacock’s Wolf Like Me and how it tried to replicate Jaws’ monster formula but didn’t end up delivering in the finale. WARNING: The following contains spoilers for Wolf Like Me, now streaming on Peacock. One of the biggest inspirations for horror movies focused on monsters lurking in the shadows and ... Read more
[atom_content] =>
Let’s dissect Season 1 of Peacock’s Wolf Like Me and how it tried to replicate Jaws’ monster formula but didn’t end up delivering in the finale.
WARNING: The following contains spoilers for Wolf Like Me, now streaming on Peacock.
One of the biggest inspirations for horror movies focused on monsters lurking in the shadows and seas is Jaws. Steven Spielberg left people scared to go into the water in the ’70s, and he did it without using too many overt scenes of the shark devouring victims until the very end. It’s masterclass filmmaking, with Spielberg instead allowing the audience to immerse themselves in fear, suspense and tension via their own imagination.
He opted for first-person perspectives from the water, as well as jump-scares with people being dragged down in rapid fashion. The quiet chaos was, in fact, propelled by just the sight of the fin, making it a big moment when the creature was eventually revealed. However, while Wolf Like Me tried to duplicate this formula in Season 1, it failed to deliver.
RELATED: How Wolf Like Me Sets Up Season 2
Other properties which followed this style include Cloverfield and Underwater, but seeing as they were movies that inevitable had great-looking monsters, it was easier to be patient for just under two hours. However, with Wolf Like Me, while the six episodes ran at about three hours in total, the slow build didn’t have that epic reveal when Isla Fisher’s Mary unleashed her full werewolf form.
The wolf didn’t create a proper sense of anticipation because there weren’t that many kills in the season. All she did was lock herself in her cellar with goats and chickens, but fans didn’t witness the carnage left behind. Had Anna morphed and torn someone apart earlier, that would have helped.
RELATED: Wolf Like Me’s Bloody Ending, Explained
Sadly, in the finale, when she mauled two bandits to save Gary and Emma, the editing and overall action sequence were lacking. At this point, there wasn’t any need to be coy and hide anything, as Mary was humanized enough, so the show could have had gruesome shots of claws ripping skin and such. Without these, the reveal felt very light after all that emotional buildup. To make it worse, the wolf’s design wasn’t that intimidating. It could have been scary like Underworld or even The Wolf Man rather than something akin to tacky cosplay.
It didn’t have to be CGI, but the practical design and effects just felt more comical than anything. Granted, the show did veer into horror territory in one scene, when the wolf grabbed one of the bandit’s head and walked off to feast, but that’s about it. In addition, this disappointment could have been alleviated had there been a breathtaking transformation, but that didn’t even occur on-camera, giving the impression there were heavy budgetary constraints that limited the amount of time the wolf could appear.
It’s something Game of Thrones ran into with its direwolves and dragons, but still, Wolf Like Me just needed a single money shot to balance all the mystery in the season. After all, Jaws had a goofy-looking shark, but the clinical, gory and strategic deaths before, at a time where tech was limited, helped to amp up the mood and atmosphere, which Wolf Like Me set up but couldn’t pay off.
All six episodes of Wolf Like Me are available on Peacock.
KEEP READING: Wolf Like Me Runs From Developing Its Interesting Romantic Premise
A Fan Theory Connects The Simpsons & South Park’s Unluckiest Characters
About The Author
Renaldo Matadeen (7594 Articles Published)
I’m a former Chemical Engineer. It was boring so I decided to write about things I love. On the geek side of things, I write about comics, cartoons, video games, television, movies and basically, all things nerdy. I also write about music in terms of punk, indie, hardcore and emo because well, they rock! If you’re bored by now, then you also don’t want to hear that I write for ESPN on the PR side of things. And yes, I’ve written sports for them too! Not bad for someone from the Caribbean, eh? To top all this off, I’ve scribed short films and documentaries, conceptualizing stories and scripts from a human interest and social justice perspective. Business-wise, I make big cheddar (not really) as a copywriter and digital strategist working with some of the top brands in the Latin America region. In closing, let me remind you that the geek shall inherit the Earth. Oh, FYI, I’d love to write the Gargoyles movie for Disney. YOLO. That said, I’m on Twitter @RenaldoMatadeen. So holler.
More From Renaldo Matadeen
We wish to say thanks to the author of this post for this remarkable web content
.jpg?q=50&fit=crop&w=750&dpr=1.5)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22953153/EvilDead2.png "The two universal fears that make horror our tropiest genre 3")
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22953176/JasonPartV.jpeg "The two universal fears that make horror our tropiest genre 4")
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