So yesterday, Michael and I spent a fair bit of time flexing our creative muscles and writing a The Shining Meetsthe Ghostbusters, a mashup that mixes the relatively dark Kubrick version of King’s canonical horror story with the beyond famous, original Ghostbusters franchise (although the new female Ghostbusters gang will likely be featured in later series installments). In other words, the blog has a new feature: genre mash-up fan fiction. Our version of The Shining, with the intervention of The Ghostbusters, has a bit more levity than the original. And Michael’s masterful knowledge of The Ghostbusters, creativity, and quick wit helped animate and bring them to life. We hope you enjoy. We had a lot of fun with this, so there’s likely more fan fiction to come….
Existentialist philosopher Friedrich Nietzsche (you know, that German philosopher with one hell of a curly mustache) once theorized that all of life and human activity rests on the will to power. Though I am no expert on Nietzsche, this seems to suggest that each individual’s desire to hold power, feel a sense of power, etc. – in a variety of contexts – governs much human activity. Moreover, we can look at, say, a movie, and understand character actions and motivations at least partially through this context. Famous theorist Michel Foucault suggests much the same thing when he says that “power is everywhere, diffused and embodied in discourse, knowledge, and regimes of truth.” While Foucault examines power on a more sociological level, his viewpoints converge with Nietzsche on the influence and the prevalence – indeed, the omnipresence – of power. And while there are many elements of Alien Covenant to discuss (I saw it tonight) power seems of critical importance. Continue reading ““To Serve in Heaven or Reign in Hell”: The Will to Power in Alien Covenant”→
With the mass-produced barrage of horror movies available to us – sometimes formulaic, sometimes cheaply made – it can be tempting for the jaded horror-goer to presume that nothing is truly scary anymore. I offer no new argument, after all, when I contend that in our increasingly sensationalized visual culture, we become (or at least risk becoming) desensitized to so many horrible things, immune to so much tragedy. It takes far more, at least from a visual standpoint, to scare us than it did sixty years ago (a fact that will be evident to anyone who compares The Hauntingto an Eli Roth film). This may not be the case universally, but it’s a general rule. And still, scary movies are manufactured, and the passionate horror fan does encounter, every now and then, a film that is particularly, unexpectedly scary. Such was my experience with the film Sinister, released about two weeks before Halloween in 2012 (although I saw it much later ). Granted, Sinister is not as artistically scintillating as my two favorite horror movies of reference – The Shiningand It Follows– but it’s still a well-made, incredibly unsettling film. When I told Michael I wanted to write a piece about it, he reassured me that he wouldn’t be upset if I re-watched it without him; one time was enough for him. So I sat down tonight, in my little Indiana apartment, with a focusing question in mind: What makes this film so scary? While I may discuss other things in the post below, I am particularly interested in exploring possible answers to this question. Continue reading “What Makes Sinister So Scary?”→
When it comes to the found footage genre, it seems like everyone has an opinion, and they’re not all favorable. Personally, I love the genre’s faux-authenticity (how’s that for an oxymoron?) and I don’t hold films that fall under the found footage umbrella up to unreasonable expectations. CGI’d specters and ostentatious sound effects are necessarily off-limits, forcing the filmmaker to work within certain parameters. What’s trickier, still, is any attempt to work within the found footage genre while somehow also making the film seem unique and original. It’s hard to emulate TheBlair Witch Project, for example, and still deviate from it enough to produce something that critics will deem “innovative.” With those observations in mind, I’m going to give the recently released Phoenix Forgotten my seal of approval. It has been, and will continue to be, lambasted for not being scary enough (and perhaps too imitative of similar predecessors), but as I’ll suggest below, that’s a fairly shallow bit of criticism that doesn’t take into account both how intriguing the film is and how chillingly it concludes. Continue reading “Phoenix Forgotten and the Found Footage Phenomenon”→