A Horrific Spring: Recently and Soon-to-Be Released Horror Movies

Photo Credit — Brightburn

As I’ve been off working hard at life, Hollywood has been working even harder to create a deliciously rich amalgam of Spring horror movies and to thus to pull me back toward my long-neglected blog.  The list that Michael and I started composing after watching horror movie previews turned out to be too noteworthy to ignore.  Couple that with the fact that I’m feeling chatty lately (more in the mood to shout from a roof top, less in the mood to crouch in a corner) and you have a recipe for my first self-composed blog post in exactly three months.   I don’t claim this to be an exhaustive list of all-things-horror being released in the next few months, but I’m trying to be fairly thorough with the rather abundant supply of scary that’s headed toward the theaters.  The first two entries on this list are films I’ve seen in the past couple of weeks, and the rest are films that haven’t been released yet, but that I’ll be sure to see when they are released.  For your ease-of-reading, I’ve arranged the films by release date, accompanied by trailers.  My discussion, of course, will be slightly more thorough for the two films I’ve already seen.  In any case, here they are: five films to consider if you need a (decidedly terrifying, unnerving, exhilarating) movie night any time soon.

Continue reading “A Horrific Spring: Recently and Soon-to-Be Released Horror Movies”
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A Horrific Spring: Recently and Soon-to-Be Released Horror Movies

Thoughts on Scribbling from the Apple Loft: Madness and Work in Various Texts

Of Shakespeare’s sister that Virginia Woolf imagines in A Room of One’s Own, Woolf speculates: “Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set fire to them.”  For some scholars of women’s literature, it’s fairly common to assume that there was a vendetta against the combination of women and work in Anglo-American history, and that stifling the ability to work– often forbidding, particularly, artistic expression – resulted in concomitant madness for oppressed women.  It’s a common trope, although there were some significant historical exceptions to the rule.  I’m not an expert on the subject, but I’ve heard that Jane Austen had to hide her manuscript whenever a guest entered her room.  And one must wonder, as VW did, what happened to the likely expansive throng of brilliant, would-be  productive women who weren’t given a voice prior to, say, the Romantic or Victorian eras – or later.  As an unrelated heads up, there will be spoilers throughout this piece!  

Continue reading “Thoughts on Scribbling from the Apple Loft: Madness and Work in Various Texts”
Thoughts on Scribbling from the Apple Loft: Madness and Work in Various Texts

Monstrous Undertakings in The Eyes of My Mother

The Eyes of My MotherAfter watching Hereditary – which I never blogged about, in part because of a perceived inability to say anything unique about it – I thought I’d seen it all.  Hereditary is one of the most disturbing horror films I’ve seen in some time, a sickening romp through the cackling, bloody underworld of death, grief, and witchcraft combined.  Nonetheless, Michael and I watched The Eyes of My Mother yesterday, a movie I decided to put on my list for comprehensive exams when I heard about it at a pop culture conference.  Let me tell you: it was disturbing.  Nonetheless, it was a fascinating film that said a lot about certain types of madness and (perhaps) about how such madness evolves.  I’ll be including, in my piece, Michael’s take on the main character, along with my reaction to his opinion and some observations about the film in general.  As a warning, this film is not for the faint of heart, and it may sit with you for awhile after you watch it.  That said, let’s talk about, perhaps, the general experience of watching The Eyes of My Mother along with some of the questions it raises. Continue reading “Monstrous Undertakings in The Eyes of My Mother”

Monstrous Undertakings in The Eyes of My Mother

Insidious Chapter Two: Thoughts on the Monster Mom

Insidious 2 trailer (Screengrab)
Insidious 2 trailer (Screengrab)

I’ll let you in on a little secret: I love monsters.  If you’ve never read my blog, that may indeed be a secret to you.  If you’ve read a few articles already, I’m stating that which is laughably obvious.  I’m a huge monster fan, in their varied manifestations, and I’m especially fond of figures like the mad monster, or, the entity under examination today, the monster mom.  Yesterday, I wrote a brief analysis of Insidious, and before delving into an examination of what the film says about things like the existence of other worlds and the specter, I simply defended the film’s merit.  Many detractors of contemporary horror films slander them for being “formulaic,” but if I’m looking really closely, I find much modern horror incredibly creative and interesting, and fueled by a powerful amalgam of writing, acting, directing, and producing talent.  I would like to, by and large, stand by that defense today, but I’m going to focus on discussing one thing a bit more specifically, I think, instead of writing a defense of the second film’s merit and then analyzing a sampling of elements.  So, if you’ve not guessed it, today I’ll be focusing on the ghostly villains in Chapter 2 of Insidious – on Parker Crane, and more importantly, on his Monster mom (and what said Monster Mom indicates about gender anxieties in contemporary culture).  Woo-hoo!  Let’s get started. Continue reading “Insidious Chapter Two: Thoughts on the Monster Mom”

Insidious Chapter Two: Thoughts on the Monster Mom

An Insidious Slander: In Praise of Insidious

Insidious One
Photo Credit Insidious

Let me start by saying that the title of this piece isn’t really meant to be vituperative or condemning.  In fact, the word “insidious” might be a little strong for the point I’m trying to make (but, hey, I liked the sound of the title, and it’s kind of my blog…so…there you go).  I have made a critique of horror, before, on this blog, that the genre tends to be formulaic, that a truly original and artistic horror film, while possible (see The Witch, It Follows, etc.) is rare, and many horror films are startlingly similar.  And this is true.  But, far from continuing to condemn this tendency, in this post I’d like to celebrate the beauty of formula, when the director works well within a framework to create a really excellent film.  In doing so, I guess I’ll sort of be suggesting that much of contemporary horror gets a bad rap from – not even, but especially – its most avid, enthusiastic followers, when it need not.  A filmmaker can follow common horror tropes and eschew aiming for arthouse quality filmmaking without creating a bad film.  I believe this because I’ve invested some time in watching really bad horror, and I avoid, for the most part, posting about it, because there’s no point in simply slandering someone else’s efforts on a blog when I have little if anything nice to say.  So, today I praise Insidious.  While it’s a movie that follows some typical horror conventions, it’s a really fantastic, scary, fun movie, and one that says a lot of interesting things about the ghost or the specter. Continue reading “An Insidious Slander: In Praise of Insidious”

An Insidious Slander: In Praise of Insidious

Happy Death Day – A Pleasant Surprise

Happy Death DayMichael and I decided to do a spontaneous Sunday night movie last week.  Because of my urging, we ended up in the theater watching (of course) Happy Death Day, as opposed to Lego Ninjago or (another) viewing of Thor: Ragnarok – the two current most logical outcomes of letting Michael pick the movie.  And while another viewing of Ragnarok or an initial viewing of Lego Ninjago wouldn’t have been completely insufferable, Happy Death Day turned out to be a really intriguing horror-movie going experience, if only because, well, it turned out to be a bit of an aberration.  I was, I admit, underwhelmed by the previews of the cliché killer wearing a creepy mask and stalking a female college student.  I didn’t think the film looked horrible, but it didn’t really look scary.  And since the “re-live the same day over and over and over” trope is a horror off-shoot of Groundhog’s Day, I wasn’t expecting to be enamored (I mean, Groundhog’s Day is fantastic, but I didn’t think another film like it would work as well).  And to be fair, I wasn’t enamored.  But there were some surprising elements of the film that made it, well, entertaining to watch, and incredibly distinct from a lot of horror that’s currently out in theaters. Continue reading “Happy Death Day – A Pleasant Surprise”

Happy Death Day – A Pleasant Surprise

The Shining: A Spacial and Temporal Examination of a Spectral Narrative

the shining 4.3In the beginning of Place: An Introduction, Tim Cresswell describes the significance of placing a specific art exhibit, one foregrounding Bollywood movies, in an elite Swedish town where only the 1% tend to visit, in part because it’s difficult to get there.  Cresswell includes the following quote in his introduction: “ ‘It’s difficult to get to,’ Mr. Wakefield added, ‘but because of that, it also demands a different kind of attention.  You discover the art through the place and the place through the art.’  The exhibition at Gstaad reflects a wider interest in how art and place interact on the part of both the artists and art theorists” (2).  This got me thinking that it might be intriguing to examine The Shining not just from a few lenses but – perhaps – from the intersection of a few lenses:  Space or place, as its conveyed in the film, the cultural space in which the film is produced, and the current cultural space in which I, the viewer, am watching the film.  This move, I think, is necessarily spectral, or turns the art under examination into a specter that disrupts linear time, since I become sort of engaged in this spectral moment, where I’m looking at the art forward, backward, etc – and this is especially true of The Shining, which situates its primary space, The Overlook Hotel, as a place that’s both mad and spectral, that consistently – if not constantly – manifests itself as a presence in the spectral moment by embodying both the past and the present – and, to the contemporary viewer, the more recent past (1921, 1980, 2017, but arranged as 2017 encompassing a film that shifts back and forth between 1921 and 1980, that begins by emphasizing 1980 but ends by emphasizing 1921).  As a “cautionary note,” I found, as I was watching, that it was challenging to thread the entirety of this analysis throughout my interpretation of the film, especially for a blog post, but that’s the general angle I’m coming from when I look at the film.  (As a sidenote, I wonder the extent to which we could deduce that all art is “spectral” – or maybe that’s what I’m getting at, but that seems like a sweeping argument for a later time).     Continue reading “The Shining: A Spacial and Temporal Examination of a Spectral Narrative”

The Shining: A Spacial and Temporal Examination of a Spectral Narrative