It will definitely be interesting to see. I've always hoped someone would make a film based on King's short story The Long Walk.
Stephen King’s The Long Walk Movie Adaptation Still Moving ForwardMe too! .. I even cast it in my mind with Keith Gordon playing the president's son and his mate from Christine playing our hero .. and a certain Pink Floyd tune towards the end. It The Long Walk would be an exhausting film.
|Paperback - £45. eBook options - £45.|
I rewrote the review to make it more relevant to FT readers.Review for FT magazine
Critical Approaches to Contemporary Horror
Editor(s): Eddie Falvey Jonathan Wroot Joe Hickinbottom
Paperback - £45. eBook options - £45.
- January 2021·288pages·216x138mm
- ·Paperback - 9781786836342
- ·eBook - epub - 9781786836366
- ·eBook - mobi - 9781786836373
- ·eBook - pdf - 9781786836359
Horror has managed to retain its position as one of the most profitable Film (and TV) Genres. Even with the onslaught of the Covid-19 Virus it has thrived online through Netflix, Amazon, Hulu etc. While established studios have used Zombies, Vampires, Ghosts and Murderers as protagonists, Independent filmmakers with miniscule to moderate budgets have produced phenomenal returns; eg - ParanormaL activities and Saw franchises. The more truly independent minded films such as Get Out, Green Room, Raw, The Witch are of interest to the essayists in this collection. Even the Halloween (2018) and It (2017) reboots are referenced. Revisionist twists allow The Final Girl so endemic in the Slasher trope to strike back in The Final Girl (2015), Happy Death Day (2017) and in the Halloween reboot. The New Horror in TV could be seen to have begin with True Blood, using allegories based on Gay (God Hates Fangs!) and Racial oppression, moving on to the Existential Tewrror of The Walking Dead (perhaps inspired by the 2008 economic crash), American Horror Story (Satire at it's best) and Black Mirror utilising more British approach. Twelve essays range from The New Independent Prestige Horror, to Streaming Netflix Original Horror to an appraisal of the work and reputation of Takashi Miike.
Abigail Whittall looks at the history of Nazi Horror and how it has been reimagined. The first Nazi Horror flick was Revenge of the Zombies (1943), a Nazi scientist raising an army of the undead for the Third Reich. There was a hiatus until The Frozen Dead (1966), moving on to the more sophisticated Death Ship (1980) and The Keep (1983). The modern approach was exemplified in Hellboy (2004), The Devil's Rock (2011), Frankenstein's Army (2013) and Overlord (2018); all of these involve the Ahnenerbe the SS Institute for the study of the Occult and Ancient Archeology). Dead Snow (2009), OutPost (2008) and Frostbite (2006) could be seen as effective horror but thematically as throwbacks to older films.
Thomas Joseph Watson's analysis of Green Room (2016) puts it the context of Hardcore Punk and Subcultural violence. Very much an allegorical film: "the actual"horrors" of Green Room are positioned within contexts of angry, racist ideology and the escalating violence which is created". The violence is all too real though when the Punk band witness a murder in the Neo-Nazi owned venue and the eponymous green room comes under siege. The irony is that the nazi leader Darcy Banker (Patrick Stewart) is more concerned about how this will affect his heroin business rather than any political ideology. Green Room is really a product of director Jeremy Saunier's own experiences as part of the Washington D.C. Punk and Hardcore scenes.
Eddie Falvey considers Contemporary Body Horror in Revisiting The Female Monster. How Werewolves and Vampires can be found to be fundamentally sexed, imparting ideas about social and sexual difference. This is illustrated (though differently through Teeth (2007) in which a teenager uses her vagina dentata to defend herself. Aa one reviewer put it: "Teeth s hilarious IMO. She turns into a dick biting superhero in the end". Falvey also examines Raw (2016), It follows (2014) and Contracted (2013).
An interesting collection aimed more towards an academic audience.
Is it just me or are most of these 'demons' fictional charactersPriest exorcist warns public on the danger of patronizing horror films
An exorcist priest said patronizing horror films or films that deal with magic and witchcraft is “dangerous” as this could lead to possible demonic possession.
In a Facebook post, Father Ronnie E. Ablong of the Diocese of Dumaguete cited the young woman he has been exorcising as an example.
“I have been exorcising a young woman for many weeks now. Thirty-nine demons have already been cast out. Five of these demons come from the movies the demoniac had watched. The names of the demons are either the primary or secondary characters of these movies,” he said.
“First, Valak ,from the movie The Nun (2018). Second, Esme (Cullen), from the movie Twilight (2008). Third, Sylvia Ganush, from the movie Drag Me to Hell (2009). Fourth, Diana Walter, from the movie Lights Out (2016). And fifth, Annabelle, from the movie, Annabelle (2019),” added Ablong.
He also issued this warning:”Please do not mention or pronounce their names because doing so will empower them or you will be harassed.”
Ablong said the case is still ongoing and that he made his post to warn the public.
Edited to add: The good father recently also warned us that we were particularly susceptible to demonic possession while Covid was doing its thing.
Watched it last night.Coven Of Sisters: Set in the Basque country in 1609, very much in the mould of Witchfinder General but far darker. A Witchfinder along with his scribe, interrogator (torturer) and platoon of soldiers is progressing along the coast, seeking out Witches and Heretics. So far they have burned seventy seven women at the stake along with three Parish Priests who were found wanting. The Witchfinder Rostegul (Alex Brendermuhl) wants to observe an actual black Sabbath, in the next village six teenage girls are arrested, having been denounced as Witches, he wants to force them to reveal their Demonic secrets. but of course they have none. The brightest among them, Ana (Amala Aberasturi) tries to trick the Inquisitor, pretending to chant the Black Mass when is she in fact singing Basque folk songs, the other girls join in. Their intent is to delay their executions until the men of the village return from sea who will then fight off the Witchfinder's men. There are disturbing scenes of torture but more is implied than actually shown. The real horror is psychological as the girls as the girls are thrown into a dark cell, not knowing what they are accused of. Rostegul twists their words to imply guilt, even what they haven't said is used to incriminate them. But Anna along with some older women use the Inquisitor's fanaticism against him, keeping his interest and postponing her fate as Scheherazade did. A savage film which you'll remember and mull over longer after the end credits have rolled. Directed by Pablo Aguero, Screenplay by Pablo Aguero and Katell Guillou. On Netflix. 8/10.
As the world searches for a cure to a disastrous virus, a scientist and park scout venture deep in the forest for a routine equipment run. Through the night, their journey becomes a terrifying voyage through the heart of darkness, the forest coming to life around them. Written and Directed by Ben Wheatley Starring Joel Fry, Ellora Torchia, Reece Shearsmith, and Hayley Squires
Reeling from the unexpected death of her husband, Beth (Rebecca Hall) is left alone in the lakeside home he built for her. She tries as best she can to keep it together – but then nightmares come. Disturbing visions of a presence in the house calling to her, beckoning her with a ghostly allure. Against the advice of her friends, she begins digging into her husband’s belongings, yearning for answers. What she finds are secrets both strange and disturbing – a mystery she’s determined to unravel. THE NIGHT HOUSE stars Rebecca Hall (HOLMES & WATSON, CHRISTINE), Sarah Goldberg (Barry, Elementary), Vondie Curtis Hall (DIE HARD 2, EVE’S BAYOU), Evan Jonigkeit (Togetherish, Sweetbitter), and Stacy Martin (VOX LUX, NYMPHOMANIAC).