Director Jeremy Saulnier wasn’t trying to reflect today’s political climate when he set out to make Green Room—it just kind of happened. The gruesome horror thriller—in which a down-and-out punk band plays a Nazi skinhead venue in backwoods Oregon and finds themselves fighting for their lives—opened last year at Cannes. Since then, much has happened to breathe relevancy into a throwback punks vs. skins narrative. Namely: Donald Trump and his legion of racist supporters.
This is a video of dog chasing people through the dark in a giant spider costume, set to over-the-top horror film music, but that knowledge doesn't make it not fucking terrifying. You can hardly blame the victims for failing to waste precious seconds confirming whether that dog-sized spider is actually a dog-sized dog.
Jennifer Kent's Australian thriller The Babadook is of the big success stories from this year's Sundance Film Festival. The story seems standard enough: A boogieman character named the Babadook terrorizes a single mother, Amelia (Essie Davis) and her son Samuel (Noah Wiseman), who's so poorly behaved, he's a bit of a monster himself. But the film has surprising depth.
Halloween digs itself out of the chilly autumn ground for a few weeks each year, too weird and primal for governments or religions to claim. It is an ancient pagan harvest festival and a leering plastic skeleton in a front-yard cemetery of styrofoam tombstones. It is candy and liquor, sex and death, and the only "moral lesson" of Halloween is a sneering threat from a child in the night: Give me mine or you'll get yours, mister. It is the only honest American holiday.
When that brave lady started ranting last night about the Freemasons and a United States controlled from the beginning by satanic money-worshipping pigs, the otherwise dull Congressional proceedings finally got a moment of excitement. Maybe this one lady, working within the House of Representatives all these years, could set off a devastating civil war that would leave the United States in ruins.
On Sunday night, The Simpsons aired its annual Halloween episode, Treehouse of Horror, which opened with Guillermo del Toro's brilliantly executed title sequence. An extended three-minute riff on the iconic couch gag, the Mexican director's treatment recast the citizens of Springfield into a seamless series of classic horror and thriller references, as well as nods to del Toro's oeuvre, from Cronos to Pacific Rim.
You know that scene from The Simpsons where Bart and Lisa ride through one of those carnival haunted-house rides and it turns out to be really busted? It’s lacking anything scary. Or anything at all for that matter. A scream greets them; they hear they squeal of a tape rewinding; and the scream repeats. A coffin opens to reveal only a spring, as a canned “I vahnt your blood” sounds. A skeleton drops from the ceiling accompanied by the sound of a donkey braying. Lisa side-eyes Bart and says, “That was just confusing.” James Wan’s Insidious Chapter 2 is the cinematic equivalent of that ride, the Screamatorium of Dr. Frightmarestein. It's not very scary. It's just confusing.
Today sees the video-on-demand release of V/H/S/2, a sequel to last year's horror anthology. I really enjoyed this new entry (especially the bonkers short about the cult) when I caught it at the Tribeca Film Festival. It's an inventive entry in the found-footage horror, the rampant and cheaply made subgenere in which a character or characters in the film are filming the action we're watching (Paranormal Activity, the only blockbuster horror franchise standing, is an example of this format). As a result, the camera is part of the story and as a result of that, other characters frequently comment on it, at some point telling the operator to put it down or turn it off. From the found-footage grandaddy, 1980's Cannibal Holocaust, t0 the hit indie really responsible for igniting this trend, 1999's The Blair Witch Project, through virtually every other movie within the subgenre, there is at least one person threatening to subvert the format.
Two monsters crashed a car into a soldier named Lee Rigby on Tuesday in southeast London, and then they hopped out and murdered him with meat cleavers and a machete. In the interminable lull before police arrived to shoot the men, they danced over Rigby's body and demanded passers-by take pictures and video. Here it is.
A horrifying daytime attack by local terrorists armed with meat cleavers took the life of U.K. soldier Lee Rigby, who was butchered and left dead in the street in southeast London. The crazed killers shouted "Allahu Akbar" after completing their grisly crime and then demanded stunned passers-by take video.