Tag Archives: Vampires

Fright Club: Best Belgian Horror

Here’s our guess: you have no idea how much great horror comes out of Belgium. A lot! So much that we weren’t even able to talk about the excellent camp horror Cub or the bloody head trip that is The Strange Color of Your Body’s Tears – but we still had to mention them because you should see them.

But keep in mind – there are five movies from Belgium that are even better! And here they are!

5. Vampires (2010)

About 6 years ago, Belgiain filmmaker Vincent Lanoo made a hilarious (if blandly titled) mock-doc about vampires. Far darker and more morbid than the later Kiwi import What We Do in the Shadows (the first two film crews were eaten before they could complete the documentary; the final film is dedicated to the memory of the third crew), Lanoo’s film offers insight, social commentary and blood along with laughs.

The crew moves in with a vampire family with two undisciplined teens. The house also contains the couple who live in their basement (vampires can’t own a home until they have – make – children), and Meat (the name they’ve given the woman they keep in their kitchen). There’s also a coop out back for the illegal immigrants the cops drop off on Mondays.

Beginning to end, wickedly hilarious.


4. Them (2006)

Brisk, effective and terrifying, Them is among the most impressive horror flicks to rely on the savagery of adolescent boredom as its central conceit.

Writers/directors David Moreau and Xavier Palud offer a lean, unapologetic, tightly conceived thriller that never lets up.

Set in Romania, Them follows Lucas and Clementine, a young couple still moving into the big rattling old house where they’ll stay while they’re working abroad. It will be a shorter trip than they’d originally planned.

What the film offers in 77 minutes is relentless suspense. I’m not sure what else you want.

Creepy noises, hooded figures, sadistic children and the chaos that entails – Them sets up a fresh and mean cat and mouse game that pulls you in immediately and leaves you unsettled.

3. Alleluia (2014)

In 2004, Belgian writer/director Fabrice Du Welz released the exquisite Calvaire, marking himself a unique artist worth watching. Ten years later he revisits the themes of that film – blind passion, bloody obsession, maddening loneliness – with his newest effort, Alleluia. Once again he enlists the help of an actor who clearly understands his vision.

Laurent Lucas plays Michel, a playboy conman who preys upon lonely women, seducing them and taking whatever cash he can get his hands on. That all changes once he makes a mark of Gloria (Lola Duenas).

Du Welz’s close camera and off angles exaggerate Lucas’s teeth, nose and height in ways that flirt with the grotesque. Likewise, the film dwells on Duenas’s bags and creases, heightening the sense of unseemliness surrounding the pair’s passion.

Duenas offers a performance of mad genius, always barely able to control the tantrum, elation, or desire in any situation. Her bursting passions often lead to carnage, but there’s a madcap love story beneath that blood spray that compels not just attention but, in a macabre way, affection. Alleluia is a film busting with desperation, jealousy, and the darkest kind of love.

2. Man Bites Dog (1992)

In a bit of meta-filmmaking, Man Bites Dog is a pseudo-documentary made on a shoestring budget by struggling, young filmmakers. It is about a documentary being made on a shoestring budget by struggling, young filmmakers. The subject of the fictional documentary is the charismatic Ben – serial killer, narcissist, poet, racist, architecture enthusiast, misogynist, bird lover.

There’s more than what appears on the surface of this cynical, black comedy. The film crew starts out as dispassionate observers of Ben’s crimes. They’re just documenting, just telling the truth. No doubt this is a morally questionable practice to begin with. But they are not villains – they are serving their higher purpose: film.

The film examines social responsibility as much as it does journalistic objectivity, and what Man Bites Dog has to say about both is biting. It’s never preachy, though.

Theirs is a bitter view of their chosen industry, and – much like The Last Horror Movie – a bit of a condemnation of the viewer as well. The fact that much of the decidedly grisly content is played for laughter makes it that much more unsettling.

1. Calvaire (2004)

Like you didn’t know.

Fabrice du Welz’s surreal nightmare has appeared on eight separate Fright Club podcasts. Why? Because we effing love it.

A paranoid fantasy about the link between progress and emasculation, The Ordeal sees a timid singer stuck in the wilds of Belgium after his van breaks down.

Writer/director Fabrice Du Welz’s script scares up the darkest imaginable humor. If David Lynch had directed Deliverance in French, the concoction might have resembled The Ordeal. As sweet, shy singer Marc (a pitch perfect Laurent Lucas) awaits aid, he begins to recognize the hell he’s stumbled into. Unfortunately for Marc, salvation’s even worse.

Du Welz animates more ably than most our collective revulsion over the idea that we’ve evolved into something incapable of unaided survival; the weaker species, so to speak. Certainly John Boorman’s Deliverance (the Uncle Daddy of all backwoods survival pics) understood the fear of emasculation that fuels this particular dread, but Du Welz picks that scab more effectively than any filmmaker since.

Plus there’s dancing!


Halloween Countdown, Day 29: Nosferatu

Nosferatu (1922)

Best vampire ever. Not the seductive, European aristocrat, cloaked and mysterious, oh no. With Count Orlock, filmmaker F. W. Murnau explores something more repellant, casting an actor who resembles an albino naked mole rat.

Given that Murnau equates the film’s vampire-related deaths with the plague, this vermin-like image fits well. But more than that, thanks to a peculiarly perfect performance by Max Schreck, Murnau mines the carnality of the vampire myth for revulsion and fear rather than eroticism.

Famously, the film was meant to be the first Dracula movie, but Murnau could not work out an agreement with Bram Stoker’s estate (who later sued, and all copies of the film were nearly lost). He changed a handful of things in an attempt to avoid the eventual lawsuit and filmed anyway. Names are changed (Harker is now Hutter, Dracula is Orlock, etc.), and details are altered, but the story remains largely – well, criminally – the same.

The genius move is the spindly, bald hunchback for a vampire – why, he’s almost a European Monty Burns! Murnau’s mastery behind the camera – particularly his ability to capture the vampire’s shadow – made the film a breathtaking horror show at the time. But don’t discount this as dusty history.

Sure, the silent film style of acting appears nothing short of quaint today, and the Dracula tale has been told too, too often at this point. But Max Schreck is a freak, and in his bony, clawlike hands, Count Orlock remains the greatest vampire ever undone by a sinless maiden.

Listen weekly to MaddWolf’s horror podcast FRIGHT CLUB. Do it!

Halloween Countdown, Day 23: Only Lovers Left Alive

Only Lovers Left Alive (2013)

Vampires again! Can’t we just give it a rest already?

I hear ya, but before you write them off completely, let Only Lovers Left Alive renew your faith in the genre’s possibilities.

Leave it to visionary writer/director Jim Jarmusch to concoct the perfect antidote to the pop culture onslaught of romantic teenage blood drinkers. OLLA is 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.

I’m not going to lie, they had me at Swinton/Hiddleston/Jarmusch/vampires, but it’s such a treat to find the end result only exceeds expectations.

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.

The less you know about the lifestyles of Adam and Eve, the better, and the plot consists mainly of consequences from a surprise visit by Eve’s sister Ava (Mia Wasikowska). But Jarmusch, as he often does, creates a setting that is totally engrossing, full of fluid beauty and wicked humor.

His camera lingers in dark corners and high ceilings, swimming in waves of sublime production design, evocative music and mood lighting that is subtle perfection. This is a master class in style and atmosphere, conjuring up a dark world you’re just geeked to spend time in.

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.

Ironically, Jarmusch treats the possibility of nightwalkers among us more realistically than any vampire flick in recent memory. And in the process, has some wry fun with how the whole thing went south.

Talk about finding our joy.

Listen weekly to MaddWolf’s horror podcast FRIGHT CLUB. Do it!

Fright Club: Doc-Style Horror

The year’s first great comedy and first decent horror film – What We Do in the Shadows – releases wide this weekend. Hooray! We loved it so, and wanted to celebrate it as well as all our other favorite documentary-style horror films. There are so many greats to choose from – the Norwegian lunacy of TrollHunter? The meta-slasher Behind the Mask? Well, it took some doing, but we landed on our favorite documentary-styled horror films. Enjoy!

What We Do in the Shadows (2015)

In the weeks leading up to the Unholy Masquerade – a celebration for Wellington, New Zealand’s surprisingly numerous undead population – a documentary crew begins following four vampire flatmates. Besides regular flatmate spats about who is and is not doing their share of dishes and laying down towels before ruining an antique fainting couch with blood stains, we witness some of the modern tribulations of the vampire. The filmmakers know how to mine the absurd just as well as they handle the hum drum minutia. The balance generates easily the best mock doc since Christopher Guest. It’s also the first great comedy of 2015.

Vampires (2010)

About 5 years ago, Belgiain filmmaker Vincent Lanoo made his own (blandly titled) mock-doc about vampires. Far darker and more morbid than Shadows (the first two film crews were eaten before they could complete the documentary; the final film is dedicated to the memory of the third crew), Lanoo’s film is still insightful and very funny.

The crew moves in with a vampire family with two undisciplined teens. The house also contains the couple who live in their basement (vampires can’t own a home until they have – make – children), and Meat (the name they’ve given the woman they keep in their kitchen). There’s also a coop out back for the illegal immigrants the cops drop off on Mondays. Wickedly hilarious.


American Zombie (2007)

American Zombie begins as an insightful satire on the modern documentary, pitting objective artist against gonzo filmmaker. Director Grace Lee, playing herself, agrees to co-direct a documentary on the Los Angeles area’s growing undead population with her zealous, craftless friend John (John Solomon). They interview experts – doctors, historians, social workers – and choose a handful of zombies as subjects. Lee approaches the film as the documentation of a misunderstood community; her co-director John is looking for something a little more lurid.

American Zombie is observant and often very funny. (An evangelist hoping to serve this untapped market remarks to the camera, “Jesus loves zombies. Jesus was the original zombie.” Nice!) As the movie progresses you find yourself lulled by Lee’s low-key, funny take on the living dead. And then, slowly but surely, she turns her film into a surprisingly creepy little horror flick.

The Blair Witch Project (1999)

Not every faux-documentary in horror is a comedy. BW is, of course, the now famous instigator of the found footage movement. (Yes, we’ve seen Cannibal Holocaust.) Between the novelty of the found footage approach and the also novel use of viral marketing, the film drew a huge audience of people who believed they were basically seeing a snuff film. Nice.

And those two cutting edge techniques 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 the nightmares some of us have had since childhood.

The Last Exorcism (2010)

Out to expose the fraudulent exorcisms perpetrated by evangelical ministers like himself all over the South, Cotton Marcus (Patrick Fabian) teams up with a documentarian and her cameraman. Together they set out to capture his final exorcism – chosen at random from his PO Box – before he hangs up his bible. Things don’t go as planned.

Fabian exploits every possibility he finds in the character of a disenchanted preacher. He’s absolutely terrific, and is aided by an effectively shaken and/or creepy supporting cast working with a script that explores any number of unseemly Southern Gothic possibilities before deciding what kind of devil is plaguing poor Nell (Ashley Bell). Thanks largely to the commitment of the cast and the effortlessly eerie backdrop of backwoods Louisiana, The Last Exorcism entertains throughout.