This low bar notwithstanding, there are plenty of feminist-friendly horror films that eschew these essentialist portrayals to offer much more nuanced imaginary. What fascinates and what horrifies us is very much a social commentary. Feminist-friendly horror films make us question gender, sexual, religious and political givens. They make us wonder who gets to define what is horrific. From the days of the OG Mary Shelley to the present, there are plenty of horror films that tear apart the veil of normalcy to give us a glimpse of something weirdly intriguing. Sometimes, the film between the comical and the serious, between the imagined and the real, is so flimsy as to be imperceptible — this is what makes a good feminist-friendly horror film. Or if not cerebral good, at least entertainment good, like in the original 1978 John Carpenter-helmed “Halloween,” when Laurie Strode uses such staples of domesticity as a knitting needle and a clothing hanger to whip “The Shape” into shape.
My review for the Washington Independent Review of Books
Riffing on that famous quip that “horror is other people,” the authors in this slim, affecting anthology from Baltimore-based Mason Jar Press speak of the horror that is us. The stories are pithy — most run just a few pages — but powerful in their parsimony.
Laura Walker’s “A Trick of Uncertain Light,” for instance, at first appears to be a simple tale of a girl stranded in a car on a dark desert road who encounters a guy driving a tow truck. But she’s not a girl in a car; she is “a rabbit feeling the primal liquid-boned fear of desert prey.” And the man in the truck hasn’t stopped out of concern. “Something’s not right. I can feel it the way you can sense the threat of storm when the wind kicks up before the clouds start rolling in.”
The imagery is evocative: “He cuts off my response, slices into the fear of the moment, spilling it.” Fear is spilling toward an inexorable end here, one that is not described and, hence, looms even larger. “Besides, there are things that bullets can’t stop from happening.”
Abigail Teed’s “Rise” and “The Pine Witch” by Alexandria Baker are both about a return to something from the past. The former has Native American mythological elements, while the latter features Wiccan notes. Continuing the theme of the everyday gone awry, the coven in “The Pine Witch” isn’t too far removed from members of a sorority house, sort of like a modern (and far less corny) take on the 1996 supernatural-thriller movie “The Craft.” As with other stories in the collection, the menace is unnamed — and thus all the more terrifying — and the words relentless in their simplicity: “I closed my eyes and reveled in the smell of burning flesh.”
Another brilliant offering is Justin Sanders’ “Baphomet and Blue,” about a Neo-Nazi death cult. The subject matter is all too believable and seemingly plucked from the headlines — police racism and brutality — but it’s given a sinister twist. A music fest turns brutal as participants wreak havoc and enact the violent reality idealized in the songs. As the author points out, “White power music is the number one method for recruiting new members.” Evil sometimes wears a badge instead of a pentagram.
Comic-book writer Scott Bryan Wilson’s “The Enthusiastic Butcher” is a keen dissection of our social-media-obsessed world. Its protagonist cuts deeper and deeper into himself (on several levels) in a vanity-fueled quest for attention and an escape from a life of loneliness. “He was like a king washed up on a desert island, his subjects sending him messages in bottles.”
The tale is a trenchant commentary on the terrifying ways in which we as a society keep pushing beyond boundaries personal, ecological, and global. The first cut is the deepest — or not, it seems to suggest.
Though spare, The Horror Is Us is nonetheless incisive and provocative. Its stories are smartly curated and fleshy, making it a must-read for any fan of the horror genre in its most modern iteration.
Stephen King’s seminal─and wildly popular─tome “It” is newly interpreted by “Mama” writer and director, Andy Muschietti. Unlike the 1990 TV mini-series, this silver screen adaptation focuses on the protagonists’ childhood encounter with the demonic killer-clown Pennywise, leaving the adulthood one for a future sequel.
The setting is 1989 in the small town of Derry, Maine. Beneath the bucolic exterior, something dark is stirring in the town’s underbelly─literally, in the sewers, and figuratively, too. Whatever “it” is, it kills children. And adults, too. But mostly children. The film opens with the classic scene of six-year-old, yellow-raincoat-clad Georgie (Jackson Robert Scott) chasing a paper boat that falls into a drain. Enter Pennywise (Bill Skarsgård), who lures Georgie with the promise of a circus down in the sewer, inch by inch, into his demise. Muschietti allows the scene to unfurl deliberately unrushed, making it all the more unsettling. More unsettling, however, is that someone witnesses what happens and seemingly just ignores it. There is a lot of that in “It”─adults turning a blind eye to the kinds of sickening violence that “it” has made commonplace in Derry.
Speaking of violence, something is definitely in the water in Derry. Perhaps the greatest horror comes not from the sewer-dwelling Pennywise, but the adults of Derry. “It” eloquently portrays the much more pedestrian, if you will, horrors of childhood. The adults in the film loom more monstrously than the evil clown–from Beverly’s serpentine, abusive father to Eddie’s manipulative mother, who feeds his hypochondria so she can control him, to the town bully’s policeman father who shoots a gun at his son’s feet, to the bullies themselves who think nothing of carving their name into the belly of a new kid they call “Tits,” in reference to his body size. “It” also seems to suggest that the absentee adults have left the kids, in this case the self-monikered Losers’ Club, to slay the monster.
“It”–it is a horror film after all–does deliver on the scares, too, but it is refreshingly less CGI-gore-fest and more “Stranger Things” in its style. Pennywise is the amalgamation of everyone’s worst fears, even if clowns don’t phase you. The Losers’ Club and “It” both tread through some gray water and come out on the other side (you will get the reference once you see the film).
My coverage of the 2012 International Horror Film Festival, Spooky Movie, in Washington DC
Spooky Movie 2012, an international horror film fest running from Oct.12-18th at the AFI Silver Theatre, is a veritable twilight zone of too ghoul for school films. This festival is the thinking horror fan’s Mystery Science Theatre—the films will have you racking your brain for days afterwards, for better or worse.