31 Days of Horror-Day 17: Jennifer’s Body (2009)

(dir. Karyn Kusama)

     Despite the fact that many horror movies have comedic elements (sometimes intentional, but more often not), the horror-comedy sub-genre is a tough category for a film to exist in. Outside of the zom-com and the dire Scary Movie/Haunted House “spoofs,” horror-comedy is difficult to market.  Jennifer’s Body has it even tougher as a horror-comedy that also serves as an allegory of the “BFF” phase of adolescent girls.  The film is mostly told in retrospect by Needy, a high-school girl who witnesses her friend, Jennifer, become a man-eating demon, proving the notion that “hell is a teenage girl.”

     The script by Diablo Cody (fresh off of her Oscar win for Juno) doesn’t cater towards broad comedy, rather it mixes understated dark humor with camp. Tonally it’s an odd mix that I think worked for it (it’s debt to Sam Rami is evident). Cody’s voice is unique and the dialogue is original, a necessity for a film toying with high school clichés. Though not all the clever remarks and witticisms hit their mark, they mostly do. Cody has her own style and the language is always interesting, and while sometimes forced, the intent rings true.

      Needy’s obsessive relationship with Jennifer is satirical but also provides astute commentary on the relationships of high school girls. The film never goes into Heavenly Creatures territory, but there is something disturbing about their near lack of concern for anyone but each other. With the exception of Needy’s boyfriend and some guys Jennifer eats, their relationship is oddly sealed off from the rest of the school. It is Jennifer’s man-eating ways and her obsession with the band responsible for her possession that drives a wedge in between her friendship with Needy. It’s a rather clever use of the defining adolescent interests of sex and music. While I think audiences (some hopeful, some weary) expected the film to be an exploitation of Megan Fox’s then sex symbol status, Jennifer’s Body is far more interesting and sexually sensitive than that. As a horror-comedy about women, written and directed by women, it really is a film that offers a unique perspective that shouldn’t be overlooked. 

Scare Factor: 1/5 It’s not necessarily scary, and the humor isn’t always laugh out loud, but the film takes on quite a lot of themes and ideas which creates a strange and fun horror-comedy. While it’s a little rough around the edges at some points, Jennifer’s Body is smarter and more topical than it gets credit for.

31 Days of Horror-Day 16: The House of the Devil (2009)

(dir. Ti West)

     There are many modern horror film directors that proudly claim their 80s influence, but few capture the essence of those films as well as Ti West does with The House of the Devil. The film centers on Samantha, a college student desperately in need of money for rent. On the night of a full lunar eclipse she takes what is supposed to be a simple babysitting job, only to find herself in the middle of a ritualistic cult practice.

     West doesn’t simply situate the story in 80s, he matches the aesthetic of those films in everything from the music, lighting, and camera angles. The success of the film also owes a lot to cinematographer, Eliot Rockett, who provides the film with some gorgeous imagery. What you’ll get here aren’t glossy shots filled with ex-CW stars and a soundtrack of 80s singles. Instead you’ll get a carefully crafted, slow-burner of a film, supported by memorable (and appropriately 80s accurate) performances from Joceline Donahue, Greta Gerwig, and Tom Noonan. The House of Devil has the earnest feel of an actual piece of horror film-making, and not a product meant to be franchised off.

      In terms of story, The House of Devil doesn’t offer much originality. Your film knowledge of cult rituals isn’t going to need any reevaluation, but that doesn’t mean the tale isn’t satisfactory. The film may require a certain amount of patience for some, given the lack of actual satanic practices for most of the film. However I found the film’s exercise in style to be more interesting than the climax. The first time I watched this I was disappointed by the last fifteen minutes, expecting something more drawn out. But upon a second viewing the ending sat better with me. It doesn’t have the same slow build as the first hour and twenty minutes, but the climax is effectively strange and eerie. As a whole, if there was no information informing you that the film came out in 2009, you’d be hard pressed not to claim it wasn’t a product of the 80s.

Scare Factor: 3/5  The House of the Devil is a near perfect example of creating creeping dread without relying on gimmicks or an abundance of effects. While his buildups are better than his resolutions, there’s no denying that Ti West is one of the best modern horror filmmakers in the business.

**Available to watch on Netflix Instant

31 Days of Horror-Day 15: Wes Craven’s New Nightmare (1994)

(dir. Wes Craven)

     A Nightmare on Elm Street was the first horror movie that truly scared me as a child, so much that I couldn’t finish it on the first go ‘round. Once Tina showed up at school in a body bag, I was done. While the Nightmare on Elm Street series lacked consistency, it was always the most imaginative of the slasher franchises, thanks to Wes Craven’s initial ability to play with perception.  Five films and ten years after the original, Wes Craven returned to Elm Street with New Nightmare. The film centers a fictionalized version of Heather Langenkamp (who played Nancy in the first and third films) who has been plagued with nightmares and phone threats ever since Wes Craven began working on his new script. After her family’s life is put in danger, Heather confronts Craven who reveals that the previous Nightmare films captured the essence of Freddy Krueger, but when the films stopped the true evil entity was set free. Heather is tasked with playing Nancy, one final time, to stop the demon from escaping from his world into ours.

     New Nightmare was Craven’s first foray into meta-cinema before the Scream series, and his thoughts on the rules of horror films first emerge here. The film is more dramatic and slower paced than the previous entries in the series, and it breaks away from its slasher roots becoming more of a macabre, family-focused fairy tale. There is a strong sense of freedom to the film, and you can feel Craven stretching his creativity. While the film doesn’t have the same frightening imagery as the first, the expansion of the mythology and some interesting commentary on writing and the inability to move beyond an iconic role makes the film a success.

Scare Factor: 2/5 While it lacks the sheer terror of the original, New Nightmare is an incredibly intelligent film that does something new with the concept instead of trying to replicate the originals. And with this year being the 30^th anniversary of the original and the 20^th anniversary of New Nightmare, it’s certainly the right time to check in on Freddy again.

31 Days of Horror-Day 14: Night of the Living Dead (1990)

(dir. Tom Savini)

*First time viewing

     George A. Romero’s Night of the Living Dead not only started the zombie phenomenon, but also offered sharp social commentary on the 1960s. Despite Romero’s claim that the film’s racial themes were unintentional, there’s no denying the film’s significance on that front. The focus on character and the controlled use of the living dead allowed for the film to transcend its status as just another low-budget horror film. Savini’s remake has a strong focus on character as well, and with Romero on script duty, the film follows the same plot as the original for the first two-thirds. The effects are better, the film feels more expensive, and the drama is heightened. But, there’s something missing.

     Savini’s effects work looks great (though not as good as Dawn of the Dead) and while color allows these effects to stand out more, the loss of black and white makes the imagery less haunting than the original. While I wish the film could stand on its own, Romero’s involvement with the remake makes it impossible to view without comparing it to the original. Though there are some differences, like a volatile relationship between Ben and Cooper, and Barbara going full-Rambo, the film doesn’t separate itself enough from the 1968 version to say anything new. I think if the script had been written by someone else and offered a new take, the remake would have been far more successful. Despite Barbara spelling out the film’s central idea at the end (“we’re them, and they’re us") the film never runs with this idea or shows what this Night of the Living Dead means in late 80s/ early 90s culture.

Scare Factor: 1/5 While the film is entertaining, the ending lacks the same memorable punch as the original film, and as a result the film offers less to think about. It’s not a bad zombie movie, and considering the slew of truly bad zombie films out there, it’s probably one of the better ones. But it’s a film that never strives to be anything more than a competent remake.

31 Days of Horror-Day 13: The Descent (2005)

(dir. Neil Marshall)

    There are some dark spaces that are never meant to be explored. If Neil Marshal’s film proves anything, it’s that sometimes it’s hard to be sure who’s with you in dark. The Descent is a tightly paced, claustrophobia-inducing film that never lets you breathe easily. It’s bleak and bloody, but never loses site of its characters. The film follows a group of female spelunkers who become trapped in an unexplored cave system. They face hallucinations, paranoia, panic attacks, disorientation, and broken limbs. And then the blind, cave creatures attack, turning a plan to escape into a savage struggle for survival.

     Marshall handles the dimly lit scenes well, insuring that the audience is able see enough to know what’s happening but be kept in the dark long enough to get a sense of disorientation. The film builds tension incredibly well; even before the creatures enter the picture, the film is brimming with an almost palpable sense of danger. That danger never becomes stagnant and the there’s a true sense of progression in the perils faced, leading to a terrific climax that never feels repetitive.

      Protagonist, Sarah, undergoes quite an evolution through the film, one that mirrors her journey through the cave system. While the creatures are effectively used, it’s really Sarah’s descent into the dark spaces of her mind that makes the film so chilling. By the film’s end she’s barely recognizable as the woman she was before, proving there’s more than one way to find freedom.

Scare Factor: 5/5  The Descent is the kind of fantastically gripping film that leaves you with sweaty palms. It’s an example of the best kind of horror where genre conventions work in tangent with character development, creating a layered morality story that’s more than just a creature feature. Fair warning though, there’s a high probability you won’t want to explore any caves after watching this. 

31 Days of Horror-Day 12: Evil Dead (2013)

(dir. Fede Alvarez)

     Remaking Sam Raimi’s classic is no small feat, but Alvarez does a tremendous job of respecting the original while taking the premise in a slightly new direction. Evil Dead centers on a group of young adults who go to a cabin in the woods to help their friend, Mia, fight her heroin addiction. When Mia tries to leave the cabin, she becomes the host of a sinister demon that has preyed on the cabin’s inhabitants for decades. What follows is the bloodiest film of all time.

  While Bruce Campbell’s Ash was one of the highpoints of Raimi’s films, the remake smartly avoids attempting the impossible feat of creating a new Ash. Jane Levy delivers a great performance as Mia, and creates an incredibly resourceful protagonist and wonderfully chilling demon. While this is a darker and dirtier film, there are still traces of Raimi’s black humor. And as someone who’s more of a fan of Raimi’s first Evil Dead than I was of the campier sequels, I welcomed the more serious tone. Make no mistake, Evil Dead is still fantastically over the top, but you’ll likely laugh less while you watch.

    Where the film really shines is in its art design and cinematography; it’s one of the best looking films of the genre. And as someone who hates CGI blood and idolizes Tom Savini, the film is truly a dream for practical effects nerds. And that finale…well if you haven’t seen it,  just watch it.

Scare Factor: 5/5 Evil Dead is hands down one the best horror movies of the past few years. While the premise is simple, the film’s success hinges on its visual creativity and care. Whether you’ve seen the original film or not, it’s a bloody, and I do mean bloody, good time. 

31 Days of Horror-Day 11: You’re Next (2011)

(dir. Adam Wingard )

(dir. Adam Wingard )

*First time viewing

     

       You’re Next is a twist on the slasher movie and “final girl” concept. When Erin joins her boyfriend, Crispian, for a family gathering at his parent’s house, the last thing she’s expecting is a violent attack by men in animal masks. But the last thing these intruders are expecting is Erin, who is more than capable of holding her own and delivering her own carefully constructed death-traps. The idea of a mashup between Home Alone and Halloween is a great premise. While there are some unnecessary twists that are telegraphed too early, You're Next remains a thrilling and engaging watch.

         I was first impressed with Wingard’s direction in his shorts for V/H/S and V/H/S/2. And now with a feature film, Wingard further showcases his keen eye for style and rule-bending. You’re Next is well-directed and sometimes a beautifully shot film. Sharni Vinson makes for a fantastic lead, but a few of the other performances don't hold up quite as well. Still the cast does a solid job with the elements of horror and black comedy the script calls for. And to further touch on that script,  I love the idea of a “final girl” as someone to be feared by her attackers, and for this to be done without going the rape-revenge route is commendable. I do however wish that Erin's survivalist instincts and her ability to turn the tables on her attacker were pushed a little further. The film surely isn't lacking in plot, but the family politics are never as interesting as Erin simply kicking ass. I think there's still a directorial balance to be found between short horror films and feature length ones, but You're Next shows a lot of promise for Wingard's career.

Scare Factor: 2/5 There are some clever traps, and creepy moments from the men in masks, but the horror fades somewhat as the twists are revealed and the masks are removed. As a final note, I must say, Wingard’s use of “Looking for the Magic” is a fantastic musical choice that really makes for a great opening five minutes.

**Available to watch on Netflix Instant