Category Archives: Fright Club

A celebration of horror movies with updates on our monthly Fright Club film series at the Gateway Film Center.

Fright Club: Gas Stations in Horror

You think the price of gas will kill you! What about those creepy gas attendants?

Gas stations, for one reason or another, have become a staple in horror films – especially slashers and those backwoods thrillers. Jenny Raya of Dave’s Pop Culture Podcast joins us to count down the films that make the most of the spooky service station.

5. Tucker and Dale Versus Evil (2010)

Because Eli Craig’s comedic upending of the hillbilly horror sub-genre is nearly perfect, there had to be a pivotal scene set in a gas station.

Two backwoods buddies (an endearing Tyler Labine and Alan Tudyk) head to their mountain cabin for a weekend of fishing. En route they meet some college kids on their own camping adventure. A comedy of errors, misunderstandings and subsequent, escalating violence follows as the kids misinterpret every move Tucker and Dale make.

In the tradition of Shaun of the Dead, T&DVE lovingly sends up a familiar subgenre with insightful, self-referential humor, upending expectations by taking the point of view of the presumably villainous hicks. And it happens to be hilarious.

4. Splinter (2008)

Road kill, a carjacking, an abandoned gas station, some quills – it doesn’t take much for first time feature filmmaker and longtime visual effects master Toby Wilkins to get under your skin. One cute couple just kind of wants to camp in Oklahoma’s ancient forest (which can never be a good idea, really). Too bad a couple of ne’er-do-wells needs their car. Then a flat (what was that – a porcupine? No!!) sends them to that creepy gas station, and all hell breaks loose.

Contamination gymnastics call to mind the great John Carpenter flick The Thing, but Splinteris its own animal. Characters have depth and arcs, the danger is palpable, the kills pretty amazing, and the overall aesthetic of that old highway gives everything a desperately lonesome quality where you believe anything could happen and no rescue is in sight.

3. The Hills Have Eyes (1977)

Wes Craven’s original Hills – cheaply made and poorly acted – is a surprisingly memorable, and even more surprisingly alarming flick. Craven’s early career is marked by a contempt for both characters and audience, and his first two horror films ignored taboos, mistreating everyone on screen and in the theater. In the style of Deliverance meets Mad MaxHills was an exercise in pushing the envelope, and it owes what lasting popularity it has to its shocking violence and Michael Berryman’s nightmarish mug.

The nightmare begins (and for a lot of people, ends) at Fred’s Oasis – the last gas station before hitting an unforgiving stretch of desert.

The Hills Have Eyes is not for the squeamish. People are raped, burned alive, eaten alive, eaten dead, and generally ill-treated. You can’t say Fred didn’t warn them.

2. Deliverance (1972)

Nine notes on a banjo have never sounded so creepy.

Deliverance follows four buddies staving off mid-life crises with a canoeing adventure in southern Georgia, where a man’s not afraid to admire another man’s mouth.

They stop off, as travelers must, at a service station. No one warns them, no one delivers ominous news, but come on, no one had to. One look at the locals spending their days at that gas station should have been enough to convince them to turn back.

James Dickey streamlined his own novel to its atmospheric best, and director John Boorman plays on urbanite fears like few have done since. Dickey and Boorman mean to tell you that progress has created a soft bellied breed of man unable to survive without the comforts of a modern age.

https://www.youtube.com/watch?v=gsC4kf6x_Q0&t=128s

1. The Texas Chain Saw Massacre (1974)

Who wants barbeque?

Jim Siedow’s under-appreciated performance as de facto patriarch begins at Last Chance Gas.

First is the classic “you don’t want to go there” warnings, a long tradition in backwoods and slasher horror. But Hooper has something fun up his sleeve with this one, introducing Siedow as a likable weirdo, a concerned older Southern gentleman.

So when Sally Hardesty makes it away from the carnage all the way back to the service station, the tension, betrayal and sadism that follows feels that much more awful and unseemly.

Plus they had bought barbeque earlier! Eeeewww!

https://www.youtube.com/watch?v=ID77MV6g8dc

Fright Club: Missing Persons

There is something primally terrifying in the idea of missing persons – losing someone or being lost. Where are they and what is happening to them? No mater which side of that question you are on, the imagination conjures terrifying images.

Listen to the full podcast, including a special interview with Hounds of Love director Ben Young.

5. The Poughkeepsie Tapes (2007)

John Erick Dowdle’s film is a difficult one to watch. It contains enough elements of found footage to achieve realism, enough police procedural to provide structure, and enough grim imagination to give you nightmares.

Edward Carver (Ben Messmer) is a particularly theatrical serial killer, and the film, which takes you into the police academy classroom, asks you to watch his evolution from impetuous brute to unerring craftsman. This evolution we witness mainly through a library of videotapes he’s left behind—along with poor Cheryl Dempsey (Stacy Chbosky)—for the police to find.

Cheryl is Carver’s masterpiece, the one victim he did not kill but instead reformed as his protégé. It’s easily the most unsettling element in a film that manages to shake you without really showing you anything.

4. Berlin Syndrome (2017)

Aussie photographer Clare (Teresa Palmer, better than she’s ever been) is looking for some life experience. She backpacks across Europe, landing for a brief stay in Berlin where she hopes to make a human connection. Handsome Berliner Andi (Max Riemelt) offers exactly the kind of mysterious allure she wants and they fall into a night of passion.

What follows is an incredible combination of horror and emotional dysfunction, deftly maneuvered by both cast mates and director Cate Shortland. The mental and emotional olympics Palmer goes through from the beginning of the film to the end showcase her instincts for nuanced and unsentimental performance. Clare is smart, but emotionally open and free with her own vulnerability. The way Palmer inhabits these characteristics is as authentic as it is awkward.

Even more uncomfortable is the shifting relationship, the neediness and resilience, the dependency and independence. It’s honest in a way that is profoundly moving and endlessly uncomfortable. Riemelt matches Palmer’s vulnerability with his own insecurity and emotional about-faces. The two together are an unnerving onscreen pairing.

3. The Vanishing (Spoorloos) (1988)

Back in ’88, filmmaker George Sluizer and novelist Tim Krabbe adapted his novel about curiosity killing a cat. The result is a spare, grim mystery that works the nerves.

An unnervingly convincing Bernar-Pierre Donnadieu takes us through the steps, the embarrassing trial and error, of executing on his plan. His Raymond is a simple person, really, and one fully aware of who he is: a psychopath and a claustrophobe.

Three years ago, Raymond abducted Saskia (Johanna ter Steege) and her boyfriend Rex (Gene Bervoets) has gone a bit mad with the the mystery of what happened to her. So mad, in fact, that when Raymond offers to clue him in as long as he’s willing to suffer the same fate, Rex bites. Do not make the mistake of watching Sluizer’s neutered 1993 American remake.

https://www.youtube.com/watch?v=fcA10H-85×4&t=36s

2. The Blair Witch Project (1999)

Blair Witch may not date especially well, but it scared the hell out of a lot of people back in the day. This is the kind of forest adventure that I assume happens all the time: you go in, but no matter how you try to get out – follow a stream, use a map, follow the stars – you just keep crossing the same goddamn log.

One of several truly genius ideas behind Blair Witch is that filmmakers Daniel Myrick and Eduardo Sanchez made the audience believe that the film they were watching was nothing more than the unearthed footage left behind by three disappeared young people. Between that and the wise use of online marketing (then in its infancy) buoyed this minimalistic, naturalistic home movie about three bickering buddies who venture into the Maryland woods to document the urban legend of The Blair Witch. Twig dolls, late night noises, jumpy cameras, unknown actors and not much else blended into an honestly frightening flick that played upon primal fears.

1. Hounds of Love (2018)

Driven by a fiercely invested and touchingly deranged performance from Emma Booth, Hounds of Love makes a subtle shift from horrific torture tale to psychological character study. In 108 grueling minutes, writer/director Ben Young’s feature debut marks him as a filmmaker with confident vision and exciting potential.

It is the late 1980s in Perth, Australia, and at least one young girl has already gone missing when the grounded Vicki (Ashleigh Cummings) sneaks out her bedroom window to attend a party. This isn’t nearly as dumb a move as is accepting a ride from Evie White (Booth) and her husband John (Stephen Curry).

As the couple dance seductively and drink to celebrate, Young disturbingly conveys the weight of Vicki’s panicked realization that she is now their captive. It is just one in a series of moments where Young flexes impressive chops for visual storytelling, utilizing slo-motion, freeze frame, patient panning shots and carefully chosen soundtrack music to set the mood and advance the dreadful narrative without a spoken word.

Fright Club: Body Fluids in Horror Movies

Viscosity! That’s the name of the game today, and it’s a messy, messy game to play.

Today we slip and slide through the sloppiest movies we could find as we count down the most inspired use of body fluids in horror. The whole mess is recorded live at Gateway Film Center, so please listen.

And don’t forget to bring a towel!

5) Don’t Breathe (2016)

Fede Alvarez’s magnificent home invasion horror made this list, beating out the projectile vomit of The Exorcist, the melting bums of Street Trash, the medical what-not of Re-Animator and the viscosity of other films. How did it do it? It was not because of volume.

It’s really just the one scene.

The one with a turkey baster.

The one with the single hair.

Ew.

4) Dead Alive (1992)

The list doesn’t exist without Peter Jackson, let’s be honest. Any old horror director can work with blood. Jackson certainly can. That party scene? The arterial spray poor Lionel Cosgrove causes with his lawnmower is truly a site to behold.

But what Jackson can do with pus and a bowl of custard? Chef’s kiss right there.

3) We Are the Flesh (2016)

Emiliano Rocha Minter loves him some taboos. No one bursts through taboos like him – well, Takashi Miike, maybe.

He also really loves body fluids. We mean all the body fluids. His 2016 social commentary swims them all. All all all.

Taboos and body fluids. Sloppy!

2) Evil Dead (2013)

Peter Jackson’s Dead Alive held the record for most blood in a film – 1000 gallons – until 2013.

It’s a record Sam Raimi’s earlier Evil Dead franchise efforts had once held, but Fede Alvarez (making his second appearance on this list!) drenched all records when he poured out 50,000 gallons of fake blood in a single scene.

Allegedly It Chapter 2 tops that, but I don’t know how you out-soak a torrential downpour of blood.

Gozu (2003)

Who’s not afraid of taboos? Well, the great and prolific Takashi Miike has no fear of body fluids, either. Hell, Ichi the Killer’s title screen is done in semen and one of Audition’s most memorable moments sees a multiple amputee eating his mistress’s vomit.

But with Gozu, Miike’s not holding back: blood, urine, semen, lactation, pus and other discharges I’m not sure how to even categorize. Gozu is an inspired, viscous mess.

Fright Club: Best First Half of 2019

Is it really that time already? Yes, 2019 is half over and that means taking a gander backward to appreciate the horror we’ve witnessed thus far. Two first film filmmakers leave a mark while three of the greats remind us why they have that ranking.

5. Climax

Hey, club kids, it’s a Gaspar Noe dance party! And you know what that means: a balls-out psychedelic bacchanal soaked in body fluids, drugs and EDM.

Noe’s usual reliance on extended takes, stationary cameras and overhead shots makes the dance sequences utterly intoxicating, the performers’ energy creating exciting visual beauty and a palpable exuberance for their art. These seductive odes to dance are interspersed with sometimes graphically sexual conversations between the dancers, sharpening character edges and laying down an interpersonal framework that will soon be turned on its head.

In what seems like an instant, suspicion, mob rule and primal desire overtakes the company. The dancers’ movements become monstrosities bathed in pulsating rhythms, visual disorientation, wanton violence and illicit sex.

What spurred this sea change, and who is to blame? Noe turns that mystery into a greater conversation about the opportunity of birth, the impossibility of life and the extraordinary experience of death, and as is his wont, batters your senses while doing it.

4. The Wind

Lizzy and Isaac Macklin (Caitlin Gerard and Ashley Zukerman, respectively) are relieved to see smoke coming from a distant chimney. The only other cabin for miles has been empty a long while, and the prairie does get lonesome.

But companionship and burden go hand in hand for Lizzy, and company won’t chase away all the demons plaguing this harsh land.

Working from a spare script by Teresa Sutherland, Tammi develops a wonderfully spooky descent into madness. Throughout Lizzy’s isolation, Tammi swaps images onscreen from present moment reality to weeks earlier, to months earlier, to a present-day hallucination or specter and back again. The looping time frame and repetitive imagery turn in on themselves to create a dizzying effect that echoes Lizzy’s headspace.

3. Hagazussa

Making a remarkably assured feature debut as director, Lukas Feigelfeld mesmerizes with his German Gothic poetry, Hagazussa: A Heathen’s Curse.

Settled somewhere in the 15th Century Alps, the film shadows lonely, ostracized women struggling against a period where plague, paranoia and superstition reigned.

It would be easy to mistake the story Feigelfeld (who also writes) develops as a take on horror’s common “is she crazy or is there malevolence afoot?” theme. But the filmmaker’s hallucinatory tone and Aleksandra Cwen’s grounded performance allow Hagazussa to straddle that line and perhaps introduce a third option—maybe both are true.

The film lends itself to a reading more lyrical than literal. Feigelfeld’s influences from Murnau to Lynch show themselves in his deliberate pacing and the sheer beauty of his delusional segments. He’s captured this moment in time, this draining and ugly paranoia that caused women such misery, with imagery that is perplexingly beautiful.

2. The Dead Don’t Die

Jim Jarmusch’s zombie film never loses its deadpan humor or its sleepy, small town pace, which is one of The Dead Don’t Die‘s greatest charms. Another is the string of in-jokes that horror fans will revisit with countless re-viewings.

But let’s be honest, the cast is the thing. Murray and Driver’s onscreen chemistry is a joy. In fact, Murray’s onscreen chemistry with everyone—Sevigny, Swinton, Glover, even Carol Kane, who’s dead the entire film—delivers the tender heart of the movie.

Driver out-deadpans everyone in the film with comedic delivery I honestly did not know he could muster. Landry Jones also shines, as does The Tilda. (Why can’t she be in every movie?)

Though it’s tempting to see this narrative as some kind of metaphor for our current global political dystopia, in fairness, it’s more of a mildly cynical love letter to horror and populist entertainment.

Mainly, it’s a low-key laugh riot, an in-joke that feels inclusive and the most quotable movie of the year.

1. Us

From a Santa Cruz carnival to a hall of mirrors to a wall of rabbits in cages—setting each to its own insidious sound, whether the whistle of Itsy Bitsy Spider or Gregorian chanting— writer/director Jordan Peele draws on moods and images from horror’s collective unconscious and blends them into something hypnotic and almost primal.

Even as Peele lulls us with familiar surroundings and visual quotes from The Lost Boys,  Jaws, then Funny Games, then The Strangers and Night of the Living Dead and beyond, Us is far more than a riff on some old favorites. A masterful storyteller, Peele weaves together these moments of inspiration not simply to homage greatness but to illustrate a larger, deeper nightmare. It’s as if Alice’s Adventures in Wonderland turned into a plague on humanity.

Do these evil twins represent the darkest parts of ourselves that we fight to keep hidden? The fragile nature of identity? “One nation” bitterly divided?

You could make a case for these and more, but when Peele unveils his coup de grace moment (which would make Rod Serling proud), it ultimately feels like an open-ended invitation to revisit and discuss, much like he undoubtedly did for so many genre classics.

While it’s fun to be scared stiff, scared smart is even better, a fact Jordan Peele has clearly known for years.

Fright Club: This Cast!

We are beyond delighted to have been allowed to screen Jim Jarmusch’s new zombie classic The Dead Don’t Die two days in advance of its national opening. To honor this remarkable film and its amazing cast, we look at the best other horror movies that star these actors.

5. Zombieland (2009) – Bill Murray

Just when Shaun of the Dead convinced me that those Limey Brits had created the best-ever zombie romantic comedy, it turns out they’d only created the most British zom-rom-com. Writers Rhett Reese and Paul Wernick take the tried-and-true zombiepocalypse premise and sprint with it in totally new and awesome directions.

And the cameo. I cannot imagine a better one. I mean that. I’m not sure a walk on by Jesus himself could have brought me more joy.

That’s not true. Plus, in zombie movie?! How awesome would that have been?!

Jesse Eisenberg anchors the film with an inspired narration and an endearing dork characterization. But Woody Harrelson owns this film. His gun-toting, Twinkie-loving, Willie Nelson-singing, Dale Earnhart-number-wearing redneck ranks among the greatest horror heroes ever.

I give you, a trip to a loud and well-lit amusement park is not a recommendation Max Brooks would make during the zombiepocalypse. Still, you’ve got to admit it’s a gloriously filmed piece of action horror cinema.

4. Only Lovers Left Alive (2013) – Tilda Swinton

The Dead Don’t Die is not Jim Jarmusch’s first foray into horror. In 2013, the visionary writer/director concocted a delicious black comedy, oozing with sharp wit and hipster attitude.

Great lead performances don’t hurt, either, and Jarmusch gets them from Tom Hilddleston and Tilda Swinton as Adam and Eve (perfect!), a vampire couple rekindling their centuries-old romance against the picturesque backdrop of…Detroit.

Not since the David Bowie/Catherine Deneuve pairing in The Hunger has there been such perfectly vampiric casting. Swinton and Hiddleston, already two of the most consistently excellent actors around, deliver cooly detached, underplayed performances, wearing the world- weariness of their characters in uniquely contrasting ways.

There is substance to accent all the style. The film moseys toward its perfect finale, casually waxing Goth philosophic about soul mates and finding your joy.

3. Suspiria (2018) – Tilda Swinton

It is 1977 in “a divided Berlin,” when American Susie Bannion (Dakota Johnson, nicely moving the character from naivete to complexity) arrives for an audition with a world-renowned dance company run by Madame Blanc (Tilda Swinton, mesmerizing).

This “cover version” (The Tilda’s phrase, and valid) of Argento’s original lifts the veil on the academy elders early, via the diaries of Patricia (Chloe Moretz), a dancer who tells psychotherapist Dr. Josef Kiemperer (also The Tilda, under impressive makeup) wild tales of witches and their shocking plans.

Guadagnino continues to be a master film craftsman. Much as he draped Call Me by Your Name in waves of dreamy romance, here he establishes a consistent mood of nightmarish goth.

But even when this new Suspiria is tipping its hat to Argento, Guadagnino leaves no doubt he is making his own confident statement. Women move in strong solidarity both onstage and off, dancing with a hypnotic power capable of deadly results. In fact, most of the male characters here are mere playthings under the spell of powerful women, which takes a deliciously ironic swipe at witch lore.

2. American Psycho (2000) – Chloe Sevigny

A giddy hatchet to the head of the abiding culture of the Eighties, American Psycho represents the sleekest, most confident black comedy – perhaps ever. Director Mary Harron trimmed Bret Easton Ellis’s novel, giving it unerring focus. More importantly, the film soars due to Christian Bale’s utterly astonishing performance as narcissist, psychopath, and Huey Lewis fan Patrick Bateman.

There’s an elegant exaggeration to the satire afoot. Bateman is a slick, sleek Wall Street toady, pompous one minute because of his smart business cards and quick entrance into posh NYC eateries, cowed the next when a colleague whips out better cards and shorter wait times. For all his quest for status and perfection, he is a cog indistinguishable from everyone who surrounds him. The more glamour and flash on the outside, the more pronounced the abyss on the inside. What else can he do but turn to bloody, merciless slaughter? It’s a cry for help, really.

Harron’s send up of the soulless Reagan era is breathtakingly handled, from the set decoration to the soundtrack, but the film works as well as a horror picture as it does a comedy. Whether it’s Chloe Sevigny’s tenderness as Bateman’s smitten secretary or Cara Seymour’s world wearied vulnerability, the cast draws a real sense of empathy and dread that complicate the levity. We do not want to see these people harmed, and as hammy as it seems, you may almost call out to them: Look behind you!

As solid as this cast is, and top to bottom it is perfect, every performance is eclipsed by the lunatic genius of Bale’s work. Volatile, soulless, misogynistic and insane, yet somehow he also draws some empathy. It is wild, brilliant work that marked a talent preparing for big things.

1. Get Out (2017) – Caleb Landry Jones

Opening with a brilliant prologue that wraps a nice vibe of homage around the cold realities of “walking while black,” writer/director Jordan Peele uses tension, humor and a few solid frights to call out blatant prejudice, casual racism and cultural appropriation.

When white Rose (Alison Williams) takes her black boyfriend Chris (Daniel Kaluuya) home to meet the fam, she assures him race will not be a problem. How can she be sure? Because her Dad (Bradley Whitford) would have voted for Obama’s third term “if he could.” It’s the first of many B.S. alerts for Peele, and they only get more satisfying.

Rose’s family is overly polite at first, but then mom Missy (Catherine Keener) starts acting evasive and brother Jeremy (Caleb Landry Jones) gets a bit threatening, while the gardener and the maid (both black – whaaat?) appear straight outta Stepford.

Peele is clearly a horror fan, and he gives knowing winks to many genre cliches (the jump scare, the dream) while anchoring his entire film in the upending of the “final girl.” This isn’t a young white coed trying to solve a mystery and save herself, it’s a young man of color, challenging the audience to enjoy the ride but understand why switching these roles in a horror film is a social critique in itself.

Get Out is an audacious first feature for Jordan Peele, a film that never stops entertaining as it consistently pays off the bets it is unafraid to make.

Fright Club: Gateway to Hell Horror

Our friend is looking to buy her first home and our only advice was probably the same advice she got from everyone: check the basement for the gateway to hell. That always causes trouble for new homebuyers, doesn’t it?

Indeed, these netherworld exits and entrances don’t exist only in suburban basements. Nope, you can find them anywhere. In fact, you can even create your own. No idea why you would want to do that, but (assuming horror films are how-tos), it can be done. Which are the best gateway to hell horror movies, you ask? Luckily, we’ve done the math.

5. The Ninth Gate (1999)

A bunch of films nearly had this fifth slot: Amityville 3D (mainly so we could make fun of Laurie Laughlin), The Gate and its Harryhausen influences, Event Horizon’s blackhole to hell. But we landed on The Ninth Gate because we love Frank Langella and Lena Olin.

Johnny Depp plays a sleazy rare books dealer in Roman Polanski’s adaptation of Arturo Perez-Reverte’s novel. Depp’s Dean Corso falls into a mysterious adventure of finding and appraising three volumes allegedly co-authored by Satan himself (or herself?).

Maybe the element of this film that makes it more interesting than it might be is that, while the humans longing for the knowledge in these volumes are terrible people, the film doesn’t seem to find Satanism (the real worship of an actual Satan, not today’s activism branch) a potentially worthwhile activity. Satan (Emmanuelle Seigner, Polanski’s wife) is also an interesting character—in concept, anyway.

Plus, black masses! Love those!

4. The Beyond (1981)

Lucio Fulci was really preoccupied with the gateway to hell. He produced an entirely worthwhile trilogy on the topic. And while City of the Living Dead and House by the Cemetery have their charms (well, for one of us), The Beyond is by far the most entertaining of the three.

As is always the case in Fulci films, the dubbing is half the fun, here unintentionally aiding in the overall surreal quality of the picture. Liza Merrill (Catriona MacColl, who stars as different characters in each of the three Gateway films) has inherited an old Louisiana hotel from her dead uncle.

Guess what’s in the basement?!

Silly, gory as hell, hypnotic and oh-so-Fulci, The Beyond is a dreamy peek into hell. The clashing accents and lack of logic only strengthen the vibe.

3. Insidious (2010)

Yes, technically this one takes place in “The Further” – but we don’t buy that this creepy red guy plays organ in limbo or purgatory. We’re going with hell.

Director James Wan and writer (and co-star) Leigh Whannell launched a second franchise with this clever, creepy, star-studded flick about a haunted family.

Patrick Wilson (who would become a Wan/Whannell staple) and Rose Byrne anchor the film as a married couple dealing with the peculiar coma-like state affecting their son, not to mention the weird noises affecting their house.

But what makes this particular film so effective is that we get to go into The Further to reclaim the lost soul. It’s a risky move, but these filmmakers do what few are able to: they show us what we are afraid of.

2. The Sentinel (1977)

Journeyman writer/director Michael Winner helmed this weird little gem about a damaged young woman and her journey toward the only destiny that can save her.

It starts, as these things so often to, with the search for a new place to live. New York model Alison (Cristina Raines) is offered an incredibly great rate for a gorgeous NY brownstone apartment.

Is it the gateway to hell? Yes, but NY real estate being what it is, she takes it.

Look at this cast: Burgess Meredith, John Carradine, Christopher Walken, Ava Gardner, Jerry Orbach, Jose Ferrer, Beverly D’Angelo and Chris Sarandon, mainly playing the various and fascinating demons hoping to throw poor, fragile Alison off her path.

Meredith in particular is a magnificent Satan.

1. Baskin (2015)

Welcome to hell! Turkish filmmaker Can Evrenol invites you to follow a 5-man police squad into the netherworld, where eye patches are all the rage, pregnancy lasts well under the traditional 40 weeks, and you don’t want to displease Daddy.

The serpentine sequencing of events evokes a dream logic that gives the film an inescapable atmosphere of dread, creepily underscored by its urgent synth score. Evrenol’s imagery is morbidly amazing. Much of it only glimpsed, most of it left unarticulated, but all of it becomes that much more disturbing for its lack of clarity.

As is always the case, the real kicker is the Satan character. Here, central figure Mehmet  Cerrahoglu’s remarkable presence authenticates the hellscape. Evrenol’s imaginative set design and wise lighting choices envelope Cerrahoglu, his writhing followers, and his victims in a bloody horror like little else in cinema.

Fright Club: Sea Beasts

Why fear the sea? The same reason to see menace in the deep, dark unknown of space or the dense and dizzying claustrophobia of the forest: because it’s really hard to see what’s in there.

That leaves us to our imagination, and when is that ever a good idea? Here, then, are some of the most imaginative ways horror filmmakers terrorized us with tales of what lies beneath.

5. Godzilla (Gojira) (1954)

Up from the depths, 30 stories high, breathing fire…you know the rest. Surely we had to have a Fifties science run amok beastie on this list, and while there was some stiff competition, nothing really bests Godzilla.

As Japan struggled to re-emerge from the 1945 bombings of Hiroshima and Nagasaki, director Ishiro Honda unleashed that dreaded kaiju—followed quickly by a tidal wave of creature features focused on scientists whose ungodly work creates global cataclysm.

Far more pointed and insightful than its American bastardization or any of the sequels or reboots to follow, the 1954 Japanese original mirrored the desperate, helpless impotence of a global population in the face of very real, apocalyptic danger. Sure, that danger breathed fire and came in a rubber suit, but history shows again and again how nature points out the folly of man.

4. Open Water (2003)

Jaws wasn’t cinema’s only powerful shark horror. In 2003, young filmmaker Chris Kentis’s first foray into terror is unerringly realistic and, therefore, deeply disturbing.

From the true events that inspired it to one unreasonably recognizable married couple, from superbly accurate dialog to actual sharks, Open Water’s greatest strength is its unsettling authenticity. Every element benefits from Chris Kentis’s control of the project. Writer, director, cinematographer and editor, Kentis clarifies his conception for this relentless film, and it is devastating.

A couple on vacation (Blanchard Ryan and Daniel Travis) books a trip on a crowded, touristy scuba boat. Once in the water, they swim off on their own – they’re really a little too accomplished to hang with the tourists. And then, when they emerge from the depths, they realize the boat is gone. It’s just empty water in every direction.

Now, sharks aren’t an immediate threat, right? I mean, tourist scuba boats don’t just drop you off in shark infested waters. But the longer you drift, the later it gets, who knows what will happen?

https://www.youtube.com/watch?v=F4fxtHQtt4Y

3. The Lure (2015)

Here’s a great Eastern European take on reimagined Eastern European fairy tales, like Norway’s Thale (2012) and Czech Republic’s Little Otik (2000).

Gold (Michalina Olszanska) and Silver (Marta Mazurek) are not your typical movie mermaids, and director Agnieszka Smoczynska’s feature debut The Lure is not your typical – well, anything.

The musical fable offers a vivid mix of fairy tale, socio-political commentary, whimsy and throat tearing. But it’s not as ill-fitting a combination as you might think.

The Little Mermaid is actually a heartbreaking story. Not Disney’s crustacean song-stravaganza, but Hans Christian Andersen’s bleak meditation on the catastrophic consequences of sacrificing who you are for someone undeserving. It’s a cautionary tale for young girls, really, and Lure writer Robert Bolesto remains true to that theme.

The biggest differences between Bolesto’s story and Andersen’s: 80s synth pop, striptease and teeth. At its heart, The Lure is a story about Poland – its self-determination and identity in the Eighties. That’s where Andersen’s work is so poignantly fitting.

2. The Host (2006)

Visionary director Joon-ho Bong’s film opens in a military lab hospital in 2000. A clearly insane American doctor, repulsed by the dust coating formaldehyde bottles, orders a Korean subordinate to empty it all into the sink. Soon the contents of hundreds of bottles of formaldehyde find its way through the Korean sewer system and into the Han River. This event – allegedly based on fact – eventually leads, not surprisingly, to some pretty gamey drinking water. And also a 25 foot cross between Alien and a giant squid.

Said monster – let’s call him Steve Buscemi (the beast’s actual on-set nickname) – exits the river one bright afternoon in 2006 to run amuck in a very impressive outdoor-chaos-and-bloodshed scene. A dimwitted foodstand clerk witnesses his daughter’s abduction by the beast, and the stage is set.

What follows, rather than a military attack on a marauding Steve Buscemi, is actually one small, unhappy, bickering family’s quest to find and save the little girl. Their journey takes them to poorly organized quarantines, botched security check points, misguided military/Red Cross posts, and through Seoul’s sewer system, all leading to a climactic battle even more impressive than the earlier scene of afternoon chaos.

1. Jaws (1975)

What else – honestly?

Twentysomething Steven Spielberg’s game-changer boasts many things, among them one of the greatest threesomes in cinematic history. The interplay among the grizzled and possibly insane sea captain Quint (Robert Shaw), the wealthy young upstart marine biologist Hooper (Richard Dreyfuss) and the decent lawman/endearing everyman Brody (Roy Scheider) helps the film transcend horror to become simply a great movie.

Perhaps the first summer blockbuster, Jaws inspired the desire to be scared silly. And in doing so it outgrossed all other movies of its time. You couldn’t deny you were seeing something amazing – no clichés, all adventure and thrills and shocking confidence from a young director announcing himself as a presence.

Spielberg achieved one of those rare cinematic feats: he bettered the source material. Though Peter Benchley’s nautical novel attracted droves of fans, Spielberg streamlined the text and surpassed its climax to craft a sleek terror tale.

It’s John Williams’s iconic score; it’s Bill Butler’s camera, capturing all the majesty and the terror, but never too much of the shark; it’s Spielberg’s cinematic eye. The film’s second pivotal threesome works, together with very fine performances, to mine for a primal terror of the unknown, of the natural order of predator and prey.

Jaws is the high water mark for animal terror. Likely it always will be.

Fright Club: Hippies in Horror

Horror has a love/hate relationship with hippies. I suppose most of us do. And while some of the greatest films in the genre were made by Sixties freaks George Romero, Wes Craven, Tobe Hooper and the like, most of the time hippies’ onscreen representation got wrapped up in Manson hysteria.

5. Children Shouldn’t Play with Dead Things (1972)

Full disclosure: George objects to including this film on the list. It’s not good.

But it’s not good in such a good way! Director Bob Clark (Black Christmas, A Christmas Story) and writer/co-star Alan Ormsby seem basically to be taking out their frustrations at being part of the theatrical community.

Ormsby’s Alan is a director, and he drags his troupe of hippie thespians to a lonely island once used to bury the criminally insane. He then insists—if they ever want to work with him again—that his merry band dig up a body and perform a ritual to bring him back to life.

It’s basically theater kids making fun of theater kids. Watching a group of actors being literally eaten alive by their audience is its own stoke of genius, even if the film itself is not.

4. Let’s Scare Jessica to Death (1971)

In this Age of Aquarius riff on J. Sheridan Le Fanu’s vampire novel Carmilla, the unfortunately titled Let’s Scare Jessica to Death follows a somewhat delicate woman through what amounts to either a nervous breakdown or the seduction of a female vampire.

A married couple and their organic farmer friend move into an old, abandoned house on a New England island. They find a vagrant—long haired, pretty, can play an acoustic guitar, natch—and they ask her to stay. Why not?

Deliberately paced and boasting a genuine and sympathetic performance by lead Zohra Lampert, the film’s a slow burn, a hallucinogenic smalltown horror. The creepy townies, the spooky cemetery girl, and the moody cinematography blend with Lampert’s committed performance to make this one a dusty little gem.

3. I Drink Your Blood (1970)

David Durston’s grindhouse classic (in which no one drinks anyone’s blood, regardless of what this lying trailer tells you) marks that great divide in hippie horror: those made by and about hippies and those made by opportunists seizing upon a population’s terrified fascination with the Manson Family murders.

I Drink Your Blood is the latter. We open on a group of hippie Satan worshippers who turn out to be gang rapists. They descend on a little town almost empty of inhabitants—the menfolk all having moved to live and work in the nearby mining camp. That leaves just that scrappy family working in the bakery.

But once young, vindictive Pete injects the baker’s meat pies with rabid dog blood, them no goodnicks might learn some manners.

Actually, that’s the last thing they’ll do.

This is an extremely violent film, not very well made and certainly not well acted. It has a punch, though, and several scenes are provocative enough to warrant its inclusion on this list.

2. Mandy (2018)

A hallucinogenic fever dream of social, political and pop-culture subtexts layered with good old, blood-soaked revenge, Mandy throws enough visionary strangeness on the screen to dwarf even Nicolas Cage in full freakout mode.

Red (Cage) and Mandy (Andrea Riseborough) live a secluded, lazily contented life somewhere in the Pacific Northwest.

That contentment is shattered by a radical religious sect under the spell of Jeremiah (Linus Roache), who takes a liking to Mandy when the group’s van (of course it’s a van!) passes her walking on a country road.

Horror of the late 60s and early 70s saw hippies terrorizing good, upright citizens, perpetrating cult-like nastiness. Thanks to Charles Manson, society at large saw the counterculture as an evil presence determined to befoul conventional, Christian wholesomeness.

With Mandy, it’s as if the 70s and 80s have collided, mixing and matching horror tropes and upending all conceivable suppositions. In this case, zealots consumed with only the entitlement of their white, male leader wreak havoc on good, quiet, earth-loving people. The Seventies gave us some amount of progress, civil justice and peace that the Eighties took back under the guise of decency.

1.The Texas Chainsaw Massacre (1974)

Hippie pals pile into a van and head to Texas to double check that Grammy and Gamps still rest in peace, what with these rumors of grave robbing. Along the way they talk astrology, smoke some weed, pick up a hitchhiker–it’s all in a day’s journey for a hippie.

That hitchhiker thing goes sideways. In fact, the whole trip feels like a bad idea by the time pretty Sally Hardesty and her friends make a second trip to the cemetery. Well, what’s left of them.

https://www.youtube.com/watch?v=Vs3981DoINw

Fright Club: Lesbians in Horror Movies

Lesbians in horror have come a long way since Jesus DeFranco’s bloodthirsty nymphettes. In fact, we are now at the glorious point in history in which story leads can be lesbians for no particular reason—their sexual orientation not a metaphor for anything at all. They’re just characters. Nice!

There are so many great options that we had to leave many off. What were we looking for? Main characters whose sexuality is not showcased simply for titillation or as a twisted mark of the sinister. That doesn’t mean we’ve abandoned the villain, but if you’re looking for hot girl-on-girl action, well, yes, we have a bit of that, too, but who wouldn’t make out with Catherine Deneuve?

5. The Hunger (1983)

Director Tony Scott’s seductive vampire love story has a little bit of everything: slaughter, girl-on-girl action, ’80s synth/goth tunage, David Bowie. What more can you ask?

Actually the film’s kind of a sultry, dreamily erotic mess. Oh, the gauzy curtains. Catharine Deneuve is the old world vampire Miriam Blaylock—an inarguably awesome name for a vampire. David Bowie is her lover. But he suddenly begins aging, and she needs to find a replacement. Enter Susan Sarandon and her mullet as a medical specialist in unusual blood diseases and a fine actress who’s not above smooching other girls.

There are three reasons people will always watch this film: Bowie, Catherine Deneuve’s seduction of Susan Sarandon (classy!), and the great dark-wave Bauhaus number Bela Lugosi’s Dead. Together it’s a Goth Trifecta! And Goths do love them some vampires.

4. Thelma (2017)

We follow Thelma (Eili Harboe) through the uncomfortable, lonely first weeks of college we gather that her parents are very Christian and very protective.

Things could have gone all predictable and preachy from there, but co-writer/director Joachim Trier knows what you’re thinking and he plans to use it against you.

Thelma is a coming-of-age film at its cold, dark heart. The horror here lies in the destructive nature of trying to be something you are not, but here again, nothing in Thelma is as simple or cleanly cut as the beautiful framing and crystal clear camera work suggest.

Like Julia Ducournau’s magnificent coming-of-age horror Raw, Thelma dives into the issues swirling around post-adolescent freedoms and taboos in daring and insightful ways.

Thelma takes its time and lets its lead unveil a fully realized, deeply complex character full of contradictions—inconsistencies that make more sense as the mystery unravels. Though the result never terrifies, it offers an unsettling vision of self-discovery that’s simultaneously familiar and unique.

3. The Haunting (1963)

This may not seem like an obvious choice, but Theo (Claire Bloom) is a lesbian. And a great, badass character at that. That may not have been a widely held opinion when the great Shirley Jackson penned the novel in the fifties, or when the great Robert Wise directed the spooky and wonderful adaptation in 1963. But Mike Flanagan, director of the Netflix series based on the book, understood Jackson’s nuance and Wise’s subtlety and decided Theo would be out and proud. Good on ya, Flanagan.

In Wise’s original work, there is no overt mention of Theo’s sexuality, but there wouldn’t be, would there? It was 1963. Theodora is unmarried but refers to an “us” when discussing her home life. Her style, her confidence, her disinterest in being demure with the males, and the fact that Eleanor refers to her as “unnatural” all quietly make the case for us.

What’s great, though, is not just that a lead character is a lesbian, but that she’s a powerful and positive presence, and that she and Eleanor form a deep and supportive friendship. The Haunting (and Jackson’s magnificent novel) is about identity, and the fact that Theo is so very comfortable with hers is what makes this film an important addition to the list.

2. The Handmaiden (2016)

Director Park Chan-wook (Oldboy) mesmerizes again with this seductive story of a plot to defraud a Japanese heiress in the 1930s.

Weird is an excellent word to describe this film. Gorgeous and twisty with criss-crossing loyalties and deceptions, all filmed with such stunning elegance. Set in Korea, the film follows a young domestic in a sumptuous Japanese household. She’s to look after the beautiful heiress, a woman whose uncle is as perverse and creepy as he is wealthy.

Smart and wicked, stylish and full of wonderful twists, The Handmaiden is a masterwork of delicious indulgence.

1. Daughters of Darkness (1971)

Seduction, homoeroticism, drowsy lustfulness – this one has it all.

Countess Bathory—history’s female version of Dracula—checks into an all-but-abandoned seaside hotel. The only other guests, besides the Countess’s lover, Ilona (Andrea Rau), is a honeymooning couple.

Effortlessly aristocratic, Delphine Seyrig brings a tender coyness, a sadness to the infamous role of Bathory. Seyrig’s performance lends the villain a tragic loveliness that makes her the most endearing figure in the film. Everybody else feels mildly unpleasant, a sinister bunch who seem to be hiding things. The husband (John Karlen), in particular, is a suspicious figure, and a bit peculiar. Kind of a dick, really— and Bathory, for one, has no time for dicks.

Caring less for the victims than for the predator—not because she’s innocent or good, but because her weary elegance makes her seem vulnerable—gives the film a nice added dimension.

The accents are absurd. The outfits are glorious. The performances are compellingly, perversely good, and the shots are gorgeous. Indulge yourself.

https://www.youtube.com/watch?v=sFRuSbykaV0





Fright Club: The Law

The Law figures heavily in horror films. Most of them depict crimes. Bloody, bloody crimes. So, in many cases, the authorities must be brought in. And there are some outstanding genre films depicting a law enforcement officer as hero—Jaws and Slither spring to mind. They are also villains as often as bumbling side characters (we’re looking at you Inside and Last House on the Left).

Today we want to celebrate the films that dive into the police work, that focus squarely on The Law and its investigators. And, again, bloody, bloody crimes.

6. Baskin (2015)

Welcome to hell! Turkish filmmaker Can Evrenol invites you to follow a 5-man police squad into the netherworld, where eye patches are all the rage, pregnancy lasts well under the traditional 40 weeks, and you don’t want to displease Daddy.

The serpentine sequencing of events evokes a dream logic that gives the film an inescapable atmosphere of dread, creepily underscored by its urgent synth score. Evrenol’s imagery is morbidly amazing. Much of it only glimpsed, most of it left unarticulated, but all of it becomes that much more disturbing for its lack of clarity.

The further along the squad gets, the more often you’ll look in horror at something off in a corner, that sneaking WTF? query developing along with your upset stomach.

The central figures in this nightmare are one eye-patch wearing helper who enjoys tossing his or her hair over one shoulder, and the breathtaking father figure played by Mehmet Cerrahoglu. There is no one quite like him.

Cerrahoglu’s remarkable presence authenticates the hellscape. Evrenol’s imaginative set design and wise lighting choices envelope Cerrahoglu, his writhing followers, and his victims in a bloody horror like little else in cinema.

5. Se7en

Serpentine and dark as the sin it depicts, David Fincher’s Se7en marked him as a director willing to work your subconscious and take you to unseemly places. The film compares the strict and merciless justice of an old school God with the rotting corpse of NYC police work as two homicide detectives – one a grizzled veteran (Morgan Freeman), one a hot headed rookie (Brad Pitt) – try to keep up.

Fincher shrouds the mystery in some of the most memorably horrific images set to film. Who can forget that first victim, facedown in his spaghetti? How about Lust? “Get it off me! Get it off me!”

Let’s not even discuss Sloth. Still trying to recover from that, and the film came out in 1995.

Great performances and sleight of hand keep the story itself breathless as you work toward the now legendary climax.

What’s in the box?!!!

4. The Wailing

“Why are you troubled,” Jesus asked, “and why do doubts arise in your hearts? Look at my hands and my feet. It is I myself. Touch me and see — for a spirit does not have flesh and bones, as you see I have.”

Though the true meaning of this quote won’t take hold until the final act, it presents many questions. Is this film supernatural? Demonic? Or, given the corporeal nature of the quote, is it rooted in the human flesh?

Yes.

That’s what makes the quote so perfect. Writer/director Hong-jin Na meshes everything together in this bucolic horror where superstition and religion blend. The film echoes with misery, as the title suggests. The filmmaker throws every grisly thing at you – zombies, pustules, demonic possession, police procedural, multiple homicides – and yet keeps it all slippery with overt comedy.

3. I Saw the Devil (2010)

Min-sik Choi (Oldboy) plays a predator who picks on the wrong guy’s fiancé.

That grieving fiancé is a police investigator played by Byung-hun Lee (The Magnificent Seven), whose restrained emotion and elegant good looks perfectly offset Choi’s disheveled explosion of sadistic rage, and we spend 2+ hours witnessing their wildly gruesome game of cat and mouse.

Director Jee-woon Kim (A Tale of Two Sisters) breathes new life into the serial killer formula. With the help of two strong leads, he upends the old “if I want to catch evil, I must become evil” cliché. What they’ve created is a percussively violent horror show that transcends its gory content to tell a fascinating, if repellant, tale.

Beneath the grisly violence of this unwholesome bloodletting is an undercurrent of honest human pathos – not just sadism, but sadness, anger, and the most weirdly dark humor.

If you can see past the outrageously violent images onscreen, you might notice some really fine acting and nimble storytelling lurking inside this bloodbath.

2. Big Bad Wolves (2013)

A mixture of disturbing fairy tale and ugly reality, Israel’s Big Bad Wolves takes you places you really don’t want to go, but damn if it doesn’t keep you mesmerized every minute.

The particularly vulgar slaughter of several little girls sets events in motion. One teacher is suspected. One cop is driven. One father suffers from grief-stricken mania. It’s going to get really ugly.

Filmmakers Aharon Keshales and Navot Papushado (Rabies) implicate everyone, audience included. They create intentional parallels among the three men, pointing to the hypocrisy of the chase and making accusations all around of a taste for the intoxicating bloodlust that comes from dominating a weaker person.

Their taut and twisty script keeps surprises coming, but it’s the humor that’s most unexpected. Handled with dark, dry grace by Lior Ashkenazi (the cop) and Tzahi Grad (the father) – not to mention Doval’e Glickman (the grandfather) – this script elicits shamefaced but magnetic interest. You cannot look away, even when the blowtorch comes out. And God help you, it’s hard not to laugh now and again.

1. The Silence of the Lambs (1991)

It’s to director Jonathan Demme’s credit that Silence made that leap from lurid exploitation to art. His masterful composition of muted colors and tense but understated score, his visual focus on the characters rather than their actions, and his subtle but powerful use of camera elevate this story above its exploitative trappings. Of course, the performances didn’t hurt.

Hannibal Lecter ranks as one of cinema’s scariest villains, and that accomplishment owes everything to Anthony Hopkins’s performance. It’s his eerie calm, his measured speaking, his superior grin that give Lecter power. Everything about his performance reminds the viewer that this man is smarter than you and he’ll use that for dangerous ends.

Demme makes sure it’s Lecter that gets under our skin in the way he creates a parallel between Lecter and FBI investigator Clarice Starling (Jodie Foster). It’s Clarice we’re all meant to identify with, and yet Demme suggests that she and Lecter share some similarities, which means that maybe we share some, too.