Tag Archives: slasher movies

Halloween Horror Movies

We all have our ways of celebrating Halloween. If you’re still in elementary school, you put on a costume and beg strangers for candy. If you’re in college, you use Halloween as an excuse to get blitzed. If you’re my age, you sit at home and quietly contemplate opening an Ameritrade account before deciding that adulthood can wait another year and watching a scary movie instead.

Every year, I try and watch a few new horror movies, but there are a few that I must watch, that I need to watch or the season just doesn’t feel right. It’s like not carving a Jack O’ Lantern or not eating a hundred of those tiny fun sized candy bars; it’s part of the tradition and they must be watched.

So, in no particular order, here are five of the movies that I have to see before November 1:

(All images willfully stolen from IMDB.com)

The Thing

The Thing (1982) Poster

I’m not talking about the original that came out in 1951 and starred James Arness as a killer vegetable and I’m not talking about the sub-par prequel that I’m not even going to waste any more words on; I’m talking about John Carpenter’s The Thing with Kurt Russel, Keith David and goddamn Wilfred Brimley.

The Thing, if you didn’t know, is about scientists messing with something buried in the Antarctic and unleashing a potentially world devastating creature from its icy prison. The thing can imitate anyone and it begins to kill and replace the scientists one by one. What follows is ninety minutes of claustrophobic, paranoiac horror with some truly creepy and intense special effects that rival the effects of its predecessor twenty years later.

It’s a movie I can watch over and over again, trying to figure out who is who and when they’ve been replaced by the thing from another world. Great piece of sci-fi horror and one whose horror and striking visuals have withstood the test of time.

Next up, another cinema classic:

Friday the 13th, Part III

Friday the 13th Part III (1982) Poster

I’m a sucker for the Friday the 13th movies. I don’t know why and I’ve given up trying to explain to people why I like such indefensibly horrible movies. They have no redeeming quality except that they’re entertaining.

I learned long ago that I can’t watch all of them in one month without risking irreparable damage to key parts of my brain, so I narrow my selection to a few of my favorites. While I really enjoy Parts IV, VI and X, Part III will always be my favorite. It’s the movie where Jason gets his hockey mask. It has biker gangs, pot smoking hippies and the grungiest corner store owners on the planet: all of whom are cheerfully dispatched by a lunatic with a machete.

My favorite part about this movie, the thing that pushes it right over the edge into hilariously bad territory, is that it was originally released in 3D, leading to plenty of painfully obvious attempts to make use of the technology with harpoons and snakes launching themselves right at the camera on clearly visible wires.

If you watch only one Friday the 13th movie this season, make it this one. Or Jason X.

Next:

An American Werewolf in London

An American Werewolf in London (1981) Poster

An American Werewolf in London is the best werewolf movie ever made. That’s not the hyperbolic exultation of a fan, it’s just the truth. No werewolf movie has ever topped this one in terms of story, effects, writing or acting. It’s as much a black comedy as it is a horror movie and has genuinely funny moments threaded throughout.

It takes the werewolf legend and adds its own spin to the story that has been told over and over again. Plus, it has the best soundtrack out of any horror movie with every song having something to do with the moon.

I will say that if you want a different werewolf movie of equal caliber, you could also check out Ginger Snaps, which is equally creative and equally, bleakly funny.

Oh quick warning: stay the hell away from the sequel. It is inexcusably bad and not in a fun way.

Speaking of dark comedies:

Scream

Scream (1996) Poster

Scream is the creation of Wes Craven, one of the people responsible for the slasher genre and the way it took off big in the 80’s. He took everything he knew about the genre and turned it on its ear. He pulled back the curtain and gleefully pointed out, in the movie itself, the numerous cliches that plague every slasher genre.

Scream was meta before meta was a thing. It’s a self referential, witty take on the genre and also extremely brutal, violent and is a very pointed attack against just how predictable horror movies had become.

For fans of slasher movies, Scream is something you’ve already seen it or you damn well should have.

Which leads me to:

Cabin in the Woods

The Cabin in the Woods (2012) Poster

Cabin in the Woods is to all horror movies what Scream is to slasher movies. Cabin lays bare the mechanics behind those movies that we love to watch and love to let scare us. It examines the roles of myths and legends and fear. It’s one of those films about filmmakers, but it’s slyly so and subtly so. This is the movie for horror movie fans. It references different genres, specific movies, props and tropes.

It’s entertaining and hilarious and filled with well acted and quirky characters, which is a rarity in any horror movie. This is a loving tribute to the genre and the best possible way to finish out the season. If you love horror, watch this.

Those are just five of the movies I want (need) to watch and this is, by no means, a comprehensive list. There are plenty of others (Trick ‘r Treat, Nightmare on Elm Street, Halloween) that just didn’t make the list because I capped it at five.What do you watch to get in the mood for Halloween?

-D-

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31 Days of Spoooktacular: Portrait of a Slasher Movie

The slasher movie is, by far, one of the subgenres of horror that most sticks to a formula. And here is the formula:

Pre-Credits Kill+Character Introduction+Cat Scare*+Minor Character Killed Off+Pointless Drama/Comedic Scene+Secondary Character Killed+Hero(ine) and Killer Meet-Up+Hero(ine) Triumphs+One Last Scare=Slasher Movie

This is, for the most part, how every slasher movie plays out. You have the pre-credit sequence kill, which is either part of the back story or is set in modern day and sets off the chain of events. This is where you’ll see characters defiling graves or having sex when they should have been paying attention or telling stories around a campfire about the killer. If this is a sequel, this is where you’ll most likely see a character from the previous movie get killed off (see Friday the 13th Part 2 or Scream 3).

Then comes the cast introduction. During this point you’ll see a barrage of cliches come at you. Don’t worry! Most will be dead in 90 minutes. This is also the point where you’ll meet an ancillary character. Now, the ancillary character can fulfill numerous roles. They’re the Red Herring: “Who’s that?” “Oh that’s crazy Bob, he lives in the woods where we’ll be camping!” The Red Herring will show up lurking, here and there, through-out the movie and then will end up dead at the three-quarter mark.

There’s the Small Town Sheriff. He will say, in one form or another, “Those damn kids!” before the movie is over. Though he’s going to be an asshole throughout the entire movie, he’ll most likely show up toward the middle or end and seem like he’s going to do something to affect the outcome and give the audience false hope. He’s actually going to be murder fodder and everyone’s hopes are dashed.

There’s the Doomsayer. He (or she) is an old and crusty oldtimer who knows more than everyone else, but will be completely dismissed as being either old, crazy or both. The Doomsayer can also play the part of The Red Herring. It’s a toss-up to whether the Doomsayer will show up beyond the Introduction.

Then there’s the Cat Scare. The Cat Scare is when a character hears a noise, goes to investigate and finds a cat. It is almost ALWAYS a cat. And it’s always a cat that has somehow ended up in a cupboard. I have owned numerous cats, but they rarely ended up in cupboards.

Right after the cat scare, Minor Character death. The Doomsayer is a good choice for this, but sometimes it’s the gas station attendant or the lonely hitchhiker or any person who is not one of the fresh young teens.

Then you have the pointless drama and light-hearted comedy to trick you into thinking that that this movie is more than nubile young people being offed with chainsaws.

This is when the secondary characters start dying, one by one and, depending on how many characters there are, depends on how long this process will take.

After all the non-essential personnel are removed, the hero or, more frequently, the heroine meets up with the monster. If the monster is masked, this is where he’ll be de-masked. If the killer is actually the boyfriend, long lost-brother or the mother of a deformed little boy who drowned in the lake, this is where the shocking twist is revealed.

After the Killer is dispatched, the Hero(ine) and her/his Boyfriend/Girlfriend walk away from the body. Then the body moves, or the little boy comes out of the lake or the second killer steps out of the shadows or the Hero(ine) turns around with a crazy look in her eyes and you know SHE’S the killer now. This is the Final Scare. It can be either followed with a re-assuring shot of the Hero(ine) waking up or a freeze-frame of the Final Scare.

Bam. You don’t ever need to watch a slasher movie ever again. Because you just did. All of them.

-D-

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Movie Review: Antichrist (Part 1)

It is very rare that a movie scares me anymore. I’m not bragging. It just means I’ve seen too many scary movies. I know how it’s going to end. I know which characters are going to die at which points. I know where the monster will appear and what its name is. It’s all about knowing the tropes and the cliches and the very nature of the genre.

And as I’ve stated many times, fear is about not knowing. It’s about being surprised. It’s about not knowing what’s around the corner.

What’s great, truly great, about modern movies is there are no restrictions. Back in ye olden days, the good guys one, the bad guys died. Some secondary characters bit the dust, but you knew Bruce Strongchin and Betty Blondhairs would be ok in the end. As time went on and 70’s horror lost its sense of right and wrong, the hero stopped being safe. Movies started being shocking again. This was especially true in all those thousands of cult and Satan movies.

Movies could show more and more violence, so they showed more and more violence. And we got inured to violence and shock and horror and yawn. Horror has so much freedom now. It can go places and show things and tell stories that it couldn’t have told in the ’40s, ’50s and ’60s. So what does it do with this freedom?

Torture porn and the human centipede. Modern horror makers, for the most part, seem to feel the necessity to top themselves in an unwinnable attempt to be the most shocking and forget that the best way to scare is to show less and draw out the tension on a razor’s edge.

All this is leading to Antichrist. I’m not done watching it. I got so excited and so bursting with nervous energy that I had to stop in the middle and start writing about it. It made me uneasy. It made me scared and upset and worried and freaked out and oh, there’s no jump scares and there’s no psycho in the woods; it’s all just upsetting imagery and freaky visuals and a tight script and two actors falling deeper and deeper into madness inducing fear.

This is what the freedom allows. It’s not about being able to show every aspect of a decapitation from every angle in excruciating slow motion. It’s about being able to upset the audience. It’s about making people uncomfortable. That’s what good horror does. It’s uncomfortable and uneasy and it makes you squirm and when it’s done you let out that tension in one shaky release of breath.

I have to get back to my movie.

Part 2 tomorrow.

-D-

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Plans Macabre

So Halloween is rapidly approaching and how. I know you’re probably not as excited as I am, since most people who get excited about Halloween are under ten and thinking about candy. As someone who indulges in horror year-round (writing it, reading it, watching it), it’s always nice when October comes slouching ’round and everyone else starts talking scary movies.

And I have plans. Some are fantastical and out there and are most likely not going to happen. I’m not even going to tell you what they are to avoid your inevitable disappointment.  I do have more workable plans however and you’re going to hear about those. There’ll be movie reviews and pontificating blog entries about the nature of horror. There’ll be me pitching my book at you repeatedly (it’s a book of scary stories, perfect to get you in the mood for scary stuff). There might even be pictures.

It’ll be exciting. You’ll be excited.

Dylan Charles

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Slashed

Perhaps the most tasteless and least artistically driven of all horror films are slasher films (ignoring the new torture genre, because I refuse to acknowledge it). The very premise (killer kills people) is not the headiest point to start from, but there have been worthwhile whacks at the genre.

Psycho is a proto-slasher movie, the one who others follow, but only in rough forms. Slasher movies will never get better than this. Psycho isn’t just a good horror film, it’s a good movie, plain and simple. Well directed, well acted, well written; it’s everything most horror movies are not.

Black Christmas and Halloween are the next two movies worth watching and key to the evolution of the genre. Black Christmas is the quirkier of the two, featuring a killer who’s rarely seen on camera. His personality is revealed through a series of disturbing and unnerving phone calls. While Black Christmas came first, but Halloween was more popular and more of an impact in numerous ways: the preternaturally indestructible killer, the mask, the type of victim (nubile youth who are spent after hours of sex) and the heroine. It’s almost always a woman who dispatches the killer.

After Halloween came Friday the 13th, followed closely by A Nightmare on Elm Street. While Friday the 13th did everything it could to mimic its predecessors, A Nightmare On Elm Street broke the mold in a few ways. Freddy Krueger actually spoke, for starters, though his talking would become more annoying in later movies. His method of dispatching was also unique, delving into the dreams of his victims.

But, after twenty years, Michael Meyers, Freddy Krueger and Jason Voorhees all began to wear out their welcome with increasingly bad sequels that were less scary and more about over-the-top kills and unintentional humor. By the mid-nineties, Krueger and Voorhees took a vacation from the screen, only to return ten years later worse than ever.  Jason goes into space for god’s sake.

The last truly great slasher film, one that stands alongside Halloween and Black Christmas in quality, is Scream. Scream is a satirical stab at the genre, featuring often blatant references to past movies and the characters all but turn and wink at the camera. It’s a black comedic look at what the slasher film had become. The joke eventually turned sour as Scream was itself followed by two lackluster sequels, but that might have been Wes Craven’s attempt at metahumor.

With the recent Hollywood trend toward rebooting, all the old favorites had a chance to shine again and all failed. Rather than trying to tell new stories with new characters, they took the same old hack ‘n’ slash and just tried to make it more brutal, more violent. Violence alone isn’t what’s scary, especially if you don’t care about the characters. Blood and guts doesn’t scare. And old and familiar definitely doesn’t scare.

For the slasher film to truly be relevant again, Krueger needs to hang up his hat and Jason needs to put down the machete. Audiences need something new. And by new, I don’t mean two hours of tourists being tortured by psychos in the middle of Eastern Europe.

Dylan Charles

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