Tag Archives: Gateway Film Center

Fright Club: New Latino Horror

The last decade has seen an explosion in Spanish language horror—so many incredible options that we went fuzzy math for this list and still had to leave off some incredible movies, including Amigo, Veronica, The Platform, Terrified, Luz: The Flower of Evil, La Llorona, Huesera: The Bone Woman, and The Untamed. So, make sure you check every one of those out, but first, you should peruse the films that did make our list.

Thanks as always to a great crowd at Gateway Film Center!

6. El Conde (2023, Chile)

On Netflix
Pablo Larraín has a particular gift for poetic historical retellings grounded in a singular woman’s perspective: SpencerJackie. But his passion for the political history of his native Chile rings through most of his films, including Naruda and No. But did we see a vampire movie coming?

El Conde reimagines Augusto Pinochet as a vampire weary of his many years on earth and ready to leave his bickering family in squalor and finally die – until the church sends a vampire slayer after him. What follows is a near-slapstick political satire, sort of The Death of Stalin meets What We Do in the Shadows.

Every moment’s a delight, and a late-film reveal is a cynical and biting reward for a gloriously spent couple of hours.

5. Tigers Are Not Afraid (2019, Mexico)

On Shudder, Prime and AMC+

Lopez’s fable of children and war brandishes the same themes as Guillermo del Toro’s masterpiece Pan’s Labyrinth, but grounds the magic with a rugged street style.

Tigers follows Estrella, a child studying fairy tales—or, she was until her school is temporarily closed due to the stray bullets that make it unsafe for students. As Estrella and her classmates hide beneath desks to avoid gunfire, her teacher hands her three broken pieces of chalk and tells her these are her three wishes.

But wishes never turn out the way you want them to.

4. Piggy (2022, Spain)

On Hulu, HBO Max, Prime, AMC+

Mean girls are a fixture in cinema, from Mean Girls to CarrieHeathers to Jawbreaker to Napoleon Dynamite and countless others. Why is that? It’s because we like to see mean girls taken down.

Writer/director Carlota Pereda wants to challenge that base instinct. But first, she is going to make you hate Maca (Claudia Salas), Roci (Camille Aguilar) and Claudia (Irene Ferreiro). In one tiny Spanish town, the three girls make Sara’s (Laura Galán, remarkable) life utterly miserable. Like worse than Carrie White’s.

The filmmaker complicates every trope, all the one-dimensional victim/hero/villain ideas this genre and others feast on. Redemption doesn’t come easily to anyone. Pereda also seamlessly blends themes and ideas from across the genre, upending expectations but never skimping on brutal, visceral horror.

3. The Coffee Table (2022, Spain)

On Shudder, Prime, Tubi, AMC+

A remarkably well written script fleshed out by a stunning ensemble becomes utter torture as you want so badly for some other outcome. Co-writer/director Caye Casas ties threads, builds anxiety, plunges the depths of “what’s the worst that could happen?” and leaves you shaken.

David Pareja and Estefania de los Santos craft indelible, believable, beautifully flawed characters so convincing that their experience becomes painful for you. Casas salts the wounds with dark comedy, but the tenderness and tragedy collaborate toward something far more crushingly human.

2.  The Wolf House (2018, Chile)

On Prime, Tubi, Plex, Fawesome

Another Chilean horror, so you’re safe in assuming it has something to do with Pinochet. This breathtaking, incredibly creepy stop motion animated wonder tells of a true cult, Colonia Dignidad. One of its inhabitants escapes into the woods, has a near-miss catastrophe with a wolf, and hides in an abandoned house.

Directors/animators Cristobal León and Joaquín Cociña pull you into Maria’s dreamlike world, as her thoughts and reality blend before your eyes. Sets are painted, built, melted, and destroyed on the screen as Maria’s thoughts and the dangers she faces come and go. It’s an eerily beautiful and unforgettable fairy tale rooted in reality.

1. When Evil Lurks (2023, Argentina)

On Shudder, Hulu, Max, AMC+, Prime

Just when you thought no one could do anything fresh with a possession movie, Terrified filmmaker Demián Rugna surprises you. When Evil Lurks does sometimes feel familiar, its road trip to hell detouring through The Crazies, among others. But Rugna’s take on all the familiar elements feels new, in that you cannot and would not want to predict where he’s headed.

This is a magnificently written piece of horror, and Rugna’s expansive direction gives it an otherworldly yet dirty, earthy presence.

The inexplicable ugliness – this particularly foul presence of evil – is handled with enough distance, enough elegance to make the film almost beautiful, regardless of the truly awful nature of the footage. And Rugna never lets up. Each passing minute is more difficult than the last, to the very last, which is an absolute knife to the heart.

Fright Club: Best Krampus Horror Movies

Krampus is the anti-Santa, St. Nick’s mean sidekick of lore from the Alpine region of Europe. He accompanies Santa on his rounds, and while Santa hands out treats to good kids, Krampus beats them or bags them and hauls them off to hell. I swear! If you’ve tired of the regular old traumatized youth who grows up to don the red suit and murder townsfolk, then Krampus might deck your log this season. Here are some of our favorites.

5. Mother Krampus 2: Slay Ride (2018)

Who is Mother Krampus? Technically, she’s Frau Perchta, a real legend, also from the Alpine region of Europe, also likely to beat and maim idle or misbehaved youth around Christmastime. And while you’ll find about a dozen micro-budget Krampus slashers to choose from, only a couple give Frau her due. We recommend Mother Krampus 2: Slay Ride.

A few Clevelanders are serving out their community service on Christmas Eve. These include KateLynn E. Newberry as good-as-gold Victoria, and Roger Conners gloriously portraying Lady Athena Slay. Conners’s every moment on screen is a hoot.

The film boasts some effective blood fx, solid performances, and a villain you can get behind.

4.  Saint (2010)

What is every child’s immediate reaction upon first meeting Santa? Terror. Now imagine a mash-up between Santa, Krampus, a pirate, and an old-school Catholic bishop. How scary is that?

Well, that’s basically what the Dutch have to live with, as their Sinterklaas, along with his helper Black Peter, sails in yearly to deliver toys and bag naughty children to kidnap to Spain. I’m not making this up. This truly is their Christmas fairy tale. So, really, how hard was it for writer/director Dick Maas to mine his native holiday traditions for a horror flick?

Allegorical of the generations-old abuse against children quieted by the Catholic Church, Saint manages to hit a few nerves without losing its focus on simple, gory storytelling.

3. Krampus (2015)

Hometown boy Michael Dougherty, whose 2007 directorial debut Trick ‘r Treat is a seasonal gem, returned to the land of holidays and horror with his second effort behind the camera, Krampus.

When family dysfunction pushes young Max (Emjay Anthony) too far, he tears up his letter to Santa, unwittingly inviting in his stead, the evil shadow-Santa, Krampus.

The ancient demon and his anti-merrymakers get a fantastic design, and the entire film looks great. Plus an ensemble stacked with A-listers (Toni Collette, Adam Scott, David Koechner, Conchata Ferrell) elevates a script that might feel lacking otherwise.

2. A Christmas Horror Story (2015)

A trio of Canadian directors – Steve Hoban, Brett Sullivan, and Grant Harvey – pull together a series of holiday shorts with this one. Held together by Dangerous Dan (William Shatner), the small-town radio announcer who’s pulling a double shift this Christmas Eve, the tales vary wickedly from three teens trapped in their own wrong-headed Nativity, to a family who accidentally brought home a violent changeling with their pilfered Christmas tree, to a dysfunctional family stalked by Krampus, to Santa himself, besieged by zombie elves.

Yes, there is a second film out this holiday season with Krampus in it. You know what? This one’s better – in fact, it’s almost patterned after Krampus director John Dougherty’s cult favorite Trick r’ Treat and it offers more laughs and more scares.

Plus Shatner! He’s adorably jolly in the broadcast booth, particularly as the evening progresses and his nog to liquor ratio slowly changes. This is a cleverly written film, well-acted and sometimes creepy as hell. Merry f’ing Christmas!

1. Rare Exports (2010)

It’s not just the Dutch with a sketchy relationship with Santa. That same year Saint was released, the Fins put out an even better Christmas treat, one that sees Santa—or is it his evil counterpart, Krampus?—as a bloodthirsty giant imprisoned in Korvatunturi mountains centuries ago.

Some quick-thinking reindeer farmers living in the land of the original Santa Claus are able to separate naughty from nice and make good use of Santa’s helpers. There are outstanding shots of wonderment, brilliantly subverted by director Jalmari Helander, with much aid from his chubby-cheeked lead, a wonderful Onni Tommila.

Rare Exports is an incredibly well-put-together film. Yes, the story is original and the acting truly is wonderful, but the cinematography, sound design, art direction and editing are top-notch.

Fright Club: Kidnapping Horror

The idea of being kidnapped is one of those primal fears, one of the first worries we have as children. No doubt those fears have inspired many of these horror movies, and our own connection to those same anxieties the reason why so many of them hit home. From Hounds of Love to Split, Don’t Breathe to Misery, Last House on the Left to Prisoners and so many more, movies centered on kidnapping can leave you breathless and scarred. That must be why we had such a tough time landing on our five favorites. But here they are, live from the Gateway Film Center on Ohio State University campus.

5. The Woman (2011)

There’s something not quite right about Chris Cleese (an unsettlingly cherubic Sean Bridgers), and his family’s uber-wholesomeness is clearly suspect. This becomes evident once Chris hunts down a feral woman (an awesome Pollyanna McIntosh), chains her, and invites the family to help him “civilize” her.

The film rethinks family – well, patriarchy, anyway. You know from the opening, sunshiny segment that nothing is as lovely as it seems, but what lurks underneath this wholesome facade begins with some obvious ugliness—abuse, incest—but where it leads is diabolical.

Nothing happens in this film by accident – not even the innocent seeming baking of cookies – nor does it ever happen solely to titillate. It’s a dark and disturbing adventure that finds something unsavory in our primal nature and even worse in our quest to civilize. Don’t even ask about what it finds in the dog pen.

4. The Loved Ones (2009)

Writer/director/Tasmanian Sean Byrne upends high school clichés and deftly maneuvers between gritty drama and glittery carnage in a story that borrows from other horror flicks but absolutely tells its own story.

Brent (Xavier Samuel) is dealing with guilt and tragedy in his own way, and his girlfriend Holly tries to be patient with him. Oblivious to all this, Lola (a gloriously wrong-minded Robin McLeavy) asks Brent to the end of school dance. He politely declines, which proves to be probably a poor decision.

Inside Lola’s house, we’re privy to the weirdest, darkest image of a spoiled princess and her daddy. The daddy/daughter bonding over power tool related tasks is – well – I’m not sure touching is the right word for it.

The Loved Ones is a cleverly written, unique piece of filmmaking that benefits from McLeavy’s inspired performance as much as it does its filmmaker’s sly handling of subject matter.

3. I’m Not Scared (2003)

Director Gabriele Salvatores (Mediterraneo) crafts a perfect, gripping, breathless thriller with his Italian period piece. In a tiny Southern Italian town, kids run through lushly photographed fields on the hottest day of the year. They’re playing, and also establishing a hierarchy, and with their game Salvatores introduces a tension that will not let up until the last gasping breaths of his film.

Michele (Giuseppe Cristiano) sees a boy down a deep hole on a neighboring farm. The boy, Filippo (Mattia Di Pierro), believes he is dead and Michele is an angel. But the truth is far more sinister. I’m Not Scared is a masterpiece of a thriller.

https://www.youtube.com/watch?v=fUI09lqnelQ

2. Oldboy (2003)

A guy passes out after a hard night of drinking. It’s his daughter’s birthday, and that helps us see that this guy is a dick. He wakes up a prisoner in a weird, apartment-like cell. Here he stays for years and years.

The guy is Dae-su Oh (Min-sik Choi). The film is Oldboy, director Chan-wook Park’s masterpiece of subversive brutality and serious wrongdoing.

Choi is unforgettable as the film’s anti-hero, and his disheveled explosion of emotion is perfectly balanced by the elegantly evil Ji-tae Yu.

Choi takes you with him through a brutal, original, startling and difficult to watch mystery. You will want to look away, but don’t do it! What you witness will no doubt shake and disturb you, but missing it would be the bigger mistake.

1. 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 Bernard-Pierre Donnadieu takes us through the steps, the embarrassing trial and error, of executing 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 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.

Fright Club Extra: The Long Walk

It was so cool to get to host the Columbus premier of the new Stephen King adaptation The Long Walk! We’re grateful to the great crowd at Gateway Film Center for joining us for the screening and for sticking around for a spoiler-free chat about the movie.

Fright Club: Best Black Vampire Movies

I can’t imagine what prompted us to put together this list. Oh wait, it’s because Sinners is the best film of 2025 and we could tell from its reaction that too many people have not seen nearly enough movies about Black vampires. Because there are tons, and almost all of them are worth watching, even if they’re bad movies. (We’re looking at you, Vamp.) So, here are our favorites:

5. Blade (1998)

Though we love all three Blade movies, and Guillermo del Toro’s Blade II is officially our favorite, for a straight-up vampire movie, we’ll take the original. Honestly, you had us at that opening nightclub bloodbath.

Wesley Snipes is so effortlessly badass in this, and Kris Kristofferson’s grumpy protector sidekick is as welcome as he is heartbreaking. Together they give the action and bloodshed all the heartbeat it needs. This one’s fun.

4. The Transfiguration (2016)

Milo likes vampire movies.

So, it would seem, does writer/director Michael O’Shea, whose confident feature debut shows us the relationship between the folklore and the life of a forlorn high school outcast.

Eric Ruffin plays Milo, a friendless teen who believes he is a vampire. What he is really is a lonely child who finds solace in the romantic idea of this cursed, lone predator. But he’s committed to his misguided belief.

O’Shea’s film borrows ideas from George Romero’s Martin, Tomas Alfredson’s Let the Right One In, and openly gushes over Murnau’s Nosferatu.  Inside and out, the film draws on the best in vampire cinema to help Milo deal with a world in which he is a freak no matter what he decides to do.

3. Blacula (1972)

No, he is not Dracula. He is Blacula – respect him! Fear him! Dig him!! There are few Seventies blaxploitation films that can hold a candle to this one, mostly because of one rich baritone and compelling presence. The great William Marshall is the picture of grace and elegance as Mamuwalde, the prince turned vampire.

Blacula is a tragic antihero and it’s all but impossible to root against him. Though he’s often hampered by FX as well as writing, the character remains true throughout the film, even to his death. It’s the kind of moment that could be brushed aside, in a low budget flick with a lot of plot holes and silly make up. But there’s more to Blacula than meets the eye.

The film is a cheaply made Blaxploitation classic, with all that entails. For every grimace-inducing moment (bats on strings, homophobic humor) there’s a moment of true genius, mainly because of Marshall’s command of the screen and the character. Give yourself the gift of a double feature, Blacula and its sequel, Scream Blacula Scream, co-starring Marshall and Pam Grier.

2. Ganja & Hess (1974)

Back in 1973, sandwiched between blaxsploitation classics Blacula and its sequel, Scream Blacula Scream, Philadelphia playwright Bill Gunn quietly released his own Africa-rooted vampire tale, Ganja and Hess. Critically acclaimed yet virtually unseen at the time, the film follows a woman looking for her errant husband who finds a soul mate in a wealthy vampire.

Dreamlike, with an evocative sound design and gorgeous, hallucinatory framing, the film plays far closer to Seventies arthouse than horror. Gunn, who also co-stars with Marlene Clark (Ganja) and Duane Jones (Hess), never spoonfeeds the audience.

Piece together what you can and let the dizzying experience wash over you. If you like it, check out Spike Lee’s 2015 remake, Da Sweet Blood of Jesus.

1. Sinners (2025)

Ryan Coogler reteams with longtime creative partner Michael B. Jordan to sing a song of a 1932 Mississippi juke joint. The Smoke Stack twins (Jordan) are back from Chicago, a truckload of ill-gotten liquor and a satchel full of cash along with them. They intend to open a club “for us, by us” and can hardly believe their eyes when three hillbillies come calling.

Jack O’Connell (an amazing actor in everything he’s done since Eden Lake) has a brogue and a banjo. He and his two friends would love to come on in, sing, dance, and spend some money, if only Smoke would invite them.

It’s scary. It’s sexy. The action slaps. It’s funny when it needs to be, sad just as often. It looks and sounds incredible. And there’s a cameo from Buddy F. Guy, in case you needed a little authenticity. When Ryan Coogler writes and directs a vampire movie, he gives you reason to believe there is yet new life for the old monster.

Fright Club: That’s Not Your Baby!

The idea of a changeling—a baby that’s not really yours, and who knows where your dear sweet little one really is?!—is so primal a fear that it’s existed in folktales for centuries. Ireland really picks this scab well in their horror movies, but they are not alone. It’s an idea that can’t help but unsettle. Here are our five favorite “that’s not your baby!” horror movies.

https://soundcloud.com/frightclub/sets/fc296-thats-not-your-baby-horror

5. The Baby (1973)

Lord above, here’s a weird one.

Director Ted Post (Hang ’em High, Magnum Force) gets a little unseemly with this story of welfare fraud, Greek tragedy, fear of emasculation, and more. Freud would have a time with The Baby!

Mrs. Wadsworth (Ruth Roman) does not want nosey new social services wench Ann Gentry (Anjanette Comer) sniffing around. Why does she and her two perfectly normal, not at all criminal, grown daughters have to prove that their fully grown son/brother still thinks he’s a baby? The grown man in the crib and onesie upstairs.

If that’s not upsetting enough, Ann Gentry’s not all she’s cracked up to be, either. What was the deal with the Seventies?

4. The Hallow (2015)

Visual showman Corin Hardy has a bit of trickery up his sleeve. His directorial debut The Hallow, for all its superficiality and its recycled horror tropes, offers a tightly wound bit of terror in the ancient Irish wood.

Adam (Joseph Mawle) and Clare Hitchens (Bojana Novakovic) move, infant Finn in tow, from London to the isolated woods of Ireland so Adam can study a tract of forest the government hopes to sell off to privatization. But the woods don’t take kindly to the encroachment and the interloper Hitchens will pay dearly.

Hardy has a real knack for visual storytelling. His inky forests are both suffocating and isolating, with a darkness that seeps into every space. He’s created an atmosphere of malevolence, but the film does not rely on atmosphere alone.

Though all the cliché elements are there – a young couple relocates to an isolated wood to be warned off by angry locals with tales of boogeymen – the curve balls Hardy throws will keep you unnerved and guessing.

3. Hole in the Ground (2019)

Sara (Seána Kerslake), along with her bib overalls and young son Chris (James Quinn Markey), are finding it a little tough to settle into their new home in a very rural town. Chris misses his dad. Sara is having some life-at-the-crossroads anxiety.

Then a creepy neighbor, a massive sink hole (looks a bit like the sarlacc pit) and Ireland’s incredibly creepy folk music get inside her head and things really fall apart.

Writer/director Lee Cronin’s subtext never threatens his story, but instead informs the dread and guilt that pervade every scene. You look at your child one day and don’t recognize him or her. It’s a natural internal tension and a scab horror movies like to pick. Kids go through phases, your anxiety is reflected in their behavior, and suddenly you don’t really like what you see. You miss the cuter, littler version. Or in this case, you fear that inside your beautiful, sweet son lurks the same abusive monster as his father.

2. Border (2018)

Sometimes knowing yourself means embracing the beast within. Sometimes it means making peace with the beast without. For Tina—well, let’s just say Tina’s got a lot going on right now.

Border director/co-writer Ali Abbasi has more in mind than your typical Ugly Duckling tale, though. He mines John Ajvide Lindqvist’s (Let the Right One In) short story of outsider love and Nordic folklore for ideas of radicalization, empowerment, gender fluidity and feminine rage.

It would hardly feel like a horror movie at all were it not for that whole, horrifying baby thing.

The result is a film quite unlike anything else, one offering layer upon provocative, messy layer and Abbasi feels no compulsion to tidy up. Instead, he leaves you with a lot to think through thanks to one unyieldingly original film.

1. Lamb (2021)

Among the many remarkable elements buoying the horror fable Lamb is filmmaker Valdimar Jóhannsson’s ability to tell a complete and riveting tale without a single word of exposition.

Not one. So, pay attention.

Rather than devoting dialog to explaining to us what it is we are seeing, Jóhannsson relies on impressive visual storytelling instincts, answering questions as they come up with a gravesite, a crib coming out of storage, a glance, a bleat.

His cast of three – well, four, I guess — sells the fairy tale. A childless couple working a sheep farm in Iceland find an unusual newborn lamb and take her in as their own child. As is always the way in old school fables, though, there is much magical happiness but a dire recompense soon to come.

Fright Club: Horrific Families

The family that slays together stays together, isn’t that what they say? That was certainly a lot of the fun in Ready or Not, You’re Next, Frightmare and more. But what are the best examples of horrific families working together in horror movies? Brandon Thomas joins George with the full list!

5. 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 Hills Have Eyes is not for the squeamish. People are raped, burned alive, eaten alive, eaten dead, and generally ill-treated.

In fact, Craven’s greatest triumph is in creating tension via a plot device so unreasonably gruesome no audience would believe a film could go through with it. The freaks kidnap a baby with plans to eat her. But by systematically crushing taboo after taboo, the unthinkable becomes plausible, and the audience grows to fear that the baby will actually be eaten. It’s not the kind of accomplishment you’d want to share with your mom, but in terms of genre control, it is pretty good.

4. Frailty (2001)

Director Paxton stars as a widowed country dad awakened one night with an epiphany. He understands now that he and his sons have been called by God to kill demons.

Frailty manages to subvert every horror film expectation by playing right into them.

Brent Hanley’s sly screenplay evokes such nostalgic familiarity – down to a Dukes of Hazzard reference – and Paxton’s direction makes you feel entirely comfortable in these common surroundings. Then the two of them upend everything – repeatedly – until it’s as if they’ve challenged your expectations, biases, and your own childhood to boot.

Paxton crafts a morbidly compelling tale free from irony, sarcasm, or judgment and full of darkly sympathetic characters. It’s a surprisingly strong feature directorial debut from a guy who once played a giant talking turd.

3. Where the Devil Roams (2023)

There is macabre beauty in every frame of Where the Devil Roams, the latest offbeat horror from the Adams family. The film was co-directed and co-written by its three lead actors – Toby Poser, John Adams and Zelda Adams – who are also a family. ike their earlier efforts, Where the Devil Roams concerns itself with life on the fringes, rock music, and the family dynamic.

The ensemble convinces, particularly the sideshow performers, but the film’s most enduring charm is its vintage portrait look. It’s a gorgeous movie, the filmmakers creating the beautifully seedy atmosphere ideal to the era and setting.

Where the Devil Roams feels expansive and open, but like anything else in the sideshow, that’s all trickery. There’s more happening in this film than they let on, which is why the final act feels simultaneously “a ha!” and “WTF?!” You won’t see it coming, but in retrospect, it was there all along.

2. We Are What We Are (2010)

Give writer/director Jorge Michel Grau credit, he took a fresh approach to the cannibalism film. In a quiet opening sequence, a man dies in a mall. It happens that this is a family patriarch and his passing leaves the desperately poor family in shambles. While their particular quandary veers spectacularly from expectations, there is something primal and authentic about it.

It’s as if a simple relic from a hunter-gatherer population evolved separately but within the larger urban population, and now this little tribe is left without a leader. An internal power struggle begins to determine the member most suited to take over as the head of the household, and therefore, there is some conflict and competition – however reluctant – over who will handle the principal task of the patriarch: that of putting meat on the table.

The family dynamic is fascinating, every glance weighted and meaningful, every closed door significant. Grau draws eerie, powerful performances across the board, and forever veers in unexpected directions.

1. The Texas Chain Saw Massacre (1974)

It is around the dinner table that a guest gets to see the true family dynamics. Sally Hardesty’s getting a good look. Like a really close up, veiny eyed look.

The family meal is the scene that grounds Tobe Hooper’s 1974 masterpiece. Suddenly it’s a family with a lived-in vibe and a backstory. And another person’s face. And a metal basin and a nearly mummified old man.

We’ve met the brothersk. Edwin Neal’s already had his chance to nab the spotlight in the van, and of course Gunnar Hansen’s the star of the show. But at the table, the cook, Jim Siedow, gets to dig in and create an unforgettable character.


Fright Club: Female Rage in Horror Movies

Some of the greatest films in horror do not dwell on women in terror, but women in the throes of righteous fury. Ginger Snaps, Revenge, Alucarda, Possession, Teeth, Jennifer’s Body, The Love Witch, She Will, A Wounded Fawn, Immaculate, Ms. 45, The Craft, The Angry Black Girl and Her Monster, The Substance, American Mary—it’s a long list, each film on it more than worthy of attention.

Alas, we had to boil it down to 5. Here, recorded live with a fantastic audience at Gateway Film Center in Columbus, OH, are our picks for the 5 films that best channel female rage.

5. Watcher (2022)

If you’re a fan at all of genre films, chances are good Watcher will look plenty familiar. But in her feature debut, writer/director Chloe Okuno wields that familiarity with a cunning that leaves you feeling unnerved in urgent and important ways.

None of the beats are new, and as events escalate, others are pretty clearly telegraphed. But it’s the way Okuno (who helmed the impressive “Storm Drain” segment from V/H/S /94) slowly twists the gaslighting knife that makes the film’s hair-raising chills resonate.

Even as Julia pleads to be believed, the mounting indignities create a subtle yet unmistakable nod to a culture that expects women to ignore their better judgment for the sake of being polite.

4. Carrie (1976)

The seminal film about teen angst and high school carnage has to be Brian De Palma’s 1976 landmark adaptation of Stephen King’s first full length novel, the tale of an unpopular teenager who marks the arrival of her period by suddenly embracing her psychic powers.

Sissy Spacek is the perfect balance of freckle-faced vulnerability and awed vengeance. Her simpleton characterization would have been overdone were it not for Piper Laurie’s glorious evil zeal as her religious wacko mother. It’s easy to believe this particular mother could have successfully smothered a daughter into Carrie’s stupor.

One ugly trick at the prom involving a bucket of cow’s blood, and Carrie’s psycho switch is flipped. Spacek’s blood drenched Gloria Swanson on the stage conducting the carnage is perfectly over-the-top. And after all the mean kids get their comeuppance, Carrie returns home to the real horror show.

3. The Other Lamb (2019)

The first step toward freedom is telling your own story.

Writer C.S. McMullen and director Malgorzata Szumowska tell this one really well. Between McMullen’s outrage and the macabre lyricism of Szumowska’s camera, The Other Lamb offers a dark, angry and satisfying coming-of-age tale.

The Other Lamb does not simply suggest you question authority. It demands that you do far more than that, and do it for your own good.

2. The Nightingale

A mother’s grief is something many filmmakers see as the pinnacle in pain, the one emotion almost unimaginable in scope and depth and anguish. That’s why brilliant filmmaker Jennifer Kent begins here, using this one moment of ultimate agony to punctuate an almost unwatchable scene of brutality, to tell a tale not of this mother and her grief, but of a nation—a world—crippled by the brutality and grief of a ruling white male culture.

What happens to Clare (Aisling Franciosi) at the hands of Leftenant Hawkins (Sam Claflin), the British officer to whom she is in service, is as brutal and horrifying as anything you’re likely to see onscreen. It’s the catalyst for a revenge picture, but The Nightingale is far more than just that.

Kent’s fury fuels her film, but does not overtake it. She never stoops to sentimentality or sloppy caricature. She doesn’t need to. Her clear-eyed take on this especially ugly slice of history finds more power in authenticity than in drama.

1. Audition

The prolific director Takashi Miike made more than 70 movies in his first 20 or so years in film. Among the best is Audition, a phenomenally creepy May/December romance gone very, very wrong.

Audition tells the story of a widower convinced by his TV producer friend to hold mock television auditions as a way of finding a suitable new mate. He is repaid for his deception.

Nearly unwatchable and yet too compelling to turn away from, Audition is a remarkable piece of genre filmmaking. The slow moving picture builds anticipation, then dread, then full-on horror.

By the time Audition hits its ghastly conclusion, Miike and his exquisitely terrifying antagonist (Eihi Shina) have wrung the audience dry. She will not be the ideal stepmother.

Fright Club: Best Appalachian Horror

How many great horror films are set in Appalachia? So many that we had to leave these off the top 5 list: Wrong Turn, Evil Dead, Jugface, The Mothman Prophesies, The Descent, even Silence of the Lambs!

Because what were we looking for? Something that really dug into the landscape, the people of the area. Films that couldn’t have been set anywhere else. It was a tough cull, but we think we landed on the best.

5. Tucker and Dale v Evil (2010) (West Virginia)

Horror cinema’s most common and terrifying villain may not be the vampire or even the zombie, but the hillbilly. The generous, giddy Tucker and Dale vs. Evil lampoons that dread with good natured humor and a couple of rubes you can root for.

In the tradition of Shaun of the DeadT&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.

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.

T&DVE offers enough spirit and charm to overcome any weakness. Inspired performances and sharp writing make it certainly the most fun participant in the You Got a Purty Mouth class of film.

2. The Blair Witch Project (1999) (Maryland)

A master class in minimalism, Blair Witch 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.

3. Devil to Pay (2019) (Georgia)

The tale is anchored with a quietly ferocious turn by Danielle Deadwyler (who also produces) as Lemon, a hardscrabble farmer trying to keep things up and wondering where her husband has been these past days.

One of the most tightly written thrillers in recent memory, The Devil to Pay peoples those hills with true characters, not a forgettable villain or cliched rube among them. The sense of danger is palpable and Deadwyler’s commitment to communicating Lemon’s low-key tenacity is a thing of beauty.

Hell, the whole film is beautiful, Sherman Johnson’s camera catching not just the forbidding nature of Appalachia, but also its lush glory.

2. The Night fo the Hunter (1955) (West Virginia)

Robert F. Mitchum. This may be the coolest guy there ever was, with an air of nonchalance about him that made him magnetic onscreen. His world-wizened baritone and moseying way gave him the appearance of a man who knew everything, could do anything, but couldn’t care less. And perhaps his greatest role in definitely his best film is as serial killer/preacher Harry Powell in the classic Night of the Hunter.

The iconic film noir sees Mitchum as a con man who cashed in on lonely widows’ fortunes before knocking them off. He’s set his sights on Willa Harper (Shelley Winters), whose bank robber husband had been a cell mate before his execution.

What unravels is a gorgeously filmed, tremendously tense story of Depression-era Appalachian terror as Powell seduces the widow and her entire town, but not her stubborn son. Many of the performances have that stilted, pre-Method tinge to them, but both Winters and Mitchum bring something more authentic and unseemly to their roles. The conflict in styles actually enhances an off-kilter feel director Charles Laughton emphasizes with over-the-top shadows and staging. It gives the whole film a nightmarish quality that, along with Mitchum’s unforgettable performance, makes Night of the Hunter among the best films of its era.

1. Deliverance (1972) (Georgia)

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.

Fright Club: Frightful Homecomings

They say you can’t go home again. Horror filmmakers are more apt to say that you shouldn’t. For our latest episode, we look at some of horror cinema’s most memorable homecomings.

5. Coming Home in the Dark (2021)

Making his feature debut with the road trip horror Coming Home in the Dark, James Ashcroft is carving out a very different style of Kiwi horror than the splatter comedy you may be expecting.

A family is enjoying some time alone in the countryside when approached by two armed drifters. A car passes without incident. Mandrake (Danielle Gillies, chilling) say, “Looking back on today’s events, I think this will be the moment you realized you should have done something.”

Riveting, tricky storytelling to the last shot keeps you on your toes.

4. Salem’s Lot (1979)

Novelist Ben Mears decides to focus his next book on that creepy old Marsten House from his hometown of Jerusalem’s Lot, Maine. At around the same time he arrives, townspeople start dying and disappearing. It could only be Ben, or the antique store owner Richard Straker, who bought the old Marsten hours in the first place.

Tobe Hooper’s miniseries version of the Stephen King novel is still the best retelling. So many individual images stand out: the kid at the window, the Count Orlock (original) style vampire, the always saucy James Mason.

https://www.youtube.com/watch?v=YLm0iGY7CiI

3. Possum (2018)

Sean Harris is endlessly sympathetic in this tale of childhood trauma. Philip (Harris) has returned to his burned out, desolate childhood home after some unexplained professional humiliation. His profession? Puppeteer. The puppet itself seems to be a part of the overall problem.

I don’t know why the single creepiest puppet in history—a man-sized marionnette with a human face and spider’s body—could cause any trouble. Kids can be so delicate.

Writer/director Matthew Holness spins a smalltown mystery around the sad story of a grown man who is confused about what’s real and what isn’t. The melancholy story and Harris’s exceptional turn make Possum a tough one to forget.

2. The Orphanage (2007)
Laura (Belén Rueda) and her husband reopen the orphanage where she grew up, with the goal of running a house for children with special needs – children like her adopted son Simón, who is HIV positive. But Simón’s new imaginary friends worry Laura, and when he disappears it looks like she may be imagining things herself.

A scary movie can be elevated beyond measure by a masterful score and an artful camera. Because director Antonio Bayona keeps the score and all ambient noise to a minimum, allowing the quiet to fill the scenes, he develops a truly haunting atmosphere. His camera captures the eerie beauty of the stately orphanage, but does it in a way that always suggests someone is watching. The effect is never heavy handed, but effortlessly eerie.

One of the film’s great successes is its ability to take seriously both the logical, real world story line, and the supernatural one. Rueda carries the film with a restrained urgency – hysterical only when necessary, focused at all times, and absolutely committed to this character, who may or may not be seeing ghosts.

1. Halloween (1978)

The night he came home.

No film is more responsible for the explosion of teen slashers than John Carpenter’s babysitter butchering classic.

From the creepy opening piano notes to the disappearing body ending, this low budget surprise changed everything. Carpenter develops anxiety like nobody else, and plants it right in a wholesome Midwestern neighborhood. You don’t have to go camping or take a road trip or do anything at all – the boogeyman is right there at home.

Michael Myers – that hulking, unstoppable, blank menace – is scary. Pair that with the down-to-earth charm of lead Jamie Lee Curtis, who brought a little class and talent to the genre, and add the bellowing melodrama of horror veteran Donald Pleasance, and you’ve hit all the important notes. Just add John Carpenter’s spare score to ratchet up the anxiety. Perfect.

We also want to thank Derek Stewart for sharing his short film Possum with us! If you didn’t get to join us for Fright Club Live, give yourself the gift of his amazing animated short: