Posted on December 14, 2017

The Doll: Horror and the Human Barbie

Dawn

The Doll, which was released in December 2017, is the second horror film written and directed by Susannah O’Brien, president of Sahara Vision Productions. O’Brien’s first horror film, Encounter, was released in May 2016, and she has a third film, Hallucinogen, due for release imminently.

The Doll is set in motion when two men, Andy (Anthony Del Negro) and his roommate Chris (Christopher Lenk) order a Russian escort from a distinctly shady website. This brilliant maneuver is supposed to make Andy’s girlfriend Shannon (Isabella Racco) jealous so she’ll come back to him. (The fact that Shannon walked out on Andy because he was making out with two women in their pool doesn’t seem to occur to Andy and Chris, who are immediately revealed as not the smartest tools in the toolbox.) Anyway, the Russian woman knocks at the door and Chris and Andy are suitably impressed by the looks of Natasha, played by the so-called “human Barbie,” Valeria Lukyano. Natasha doesn’t just look like a Barbie, she acts like one too, engaging in strictly minimal communication. And even though they supposedly think she is an actual human, Chris and Andy treat Natasha disconcertingly like a doll. “Where shall we put her?” asks Andy. And they proceed to put her in the attic–over and over. Happily (for this viewer at least), Natasha may not talk much, but she is handy with a knife. The plot thus follows her killing spree (which she engages in for reasons which are entirely obscure), intertwined with the much less interesting drama of Andy and Shannon’s love life.

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Posted on December 9, 2017

Call for Papers: Special Issue of ‘Revenant’ on Folk Horror

Call for Papers

‘Revenant: Critical and Creative Studies of the Supernatural’ is a peer-reviewed, online journal looking at the supernatural, the uncanny and the weird. “Revenant’ is now accepting articles, creative writing pieces and book, film, game, event or art reviews for a themed issue on folk horror, guest edited by Dr. Dawn Keetley.

Blood on Satan’s Claw (1971)                                                                                          The Devil Rides Out (1968)

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Posted on December 2, 2017

I Am the Pretty Thing that Lives, Dies, and Haunts in the House

Guest Post

I have heard myself say that a house with a death in it can never again be bought or sold by the living. It can only be borrowed from the ghosts who have stayed behind.

I Am the Pretty Thing that Lives in the House begins with the anticipation of certain death. In this 2016 Netflix original, directed by Osgood Perkins, Lily Saylor (Ruth Wilson) enters the house of the dying author, Iris Blum (Paula Prentiss), to serve as her live-in nurse. Lily spends solitary months caring for Ms. Blum, and the film follows her at a sometimes excruciating pace. Ms. Blum refuses to call her anything but Polly, whom Lily learns is the lead character in one of Blum’s books: a character who suffered a horrible murder but whose ending was never fully told. The ghost of this character (Lucy Boynton) begins following Lily about the house, unbeknownst to her. The death that the house has been waiting for becomes three as Polly’s end is briefly shown, Lily never reaches her 29th year (as she predicts in the first few minutes of the film), and Ms. Blum dies without her caregiver. The film slowly unravels the theme of three different relationships in regards to these deaths: 1) that of the dying and a caregiver, 2) 1) that of an artist with her work, and 3) that of the living with the dead. Ultimately, these relationships grow so neatly and subtly tangled that they become inseparable

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Posted on November 25, 2017

Red Christmas: A Disturbing New Holiday Horror Classic

Dawn

Directed by Craig Anderson, Red Christmas premiered in Australia in the summer of 2016 and became widely available in the US (on DVD and streaming) in October 2017. When I say that Red Christmas is disturbing—even unpleasant—I’m in no way saying you shouldn’t watch this film; indeed, it seems poised to become a holiday classic. It’s disturbing and unpleasant in the way horror films should be, and it joins a pantheon of similarly disturbing holiday films, not least Black Christmas (Bob Clark, 1974) and Silent Night, Deadly Night (Charles E. Sellier, Jr., 1984). To the extent that horror films make manifest what we repress and deny, the holidays (which demand extra helpings of repression and denial if mass mayhem is to be avoided) are undeniably ripe for the most disturbing of horror films. Enter, Red Christmas.

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Posted on November 21, 2017

Stranger Things 2 Review

Guest Post

There is a special challenge in generating a successful sequel. You have to delicately balance the desires and demands of your fans, while also giving them something new. In season two of Stranger Things, The Duffer brothers deliver a beautiful follow-up that is, arguably, even better than the first season. As any tantalizing finale should, the first season of Stranger Things left us with a myriad of lingering questions. “Is the gate to the Upside Down still open?” “What happened to Eleven?” “Where are the kids numbered 1-10?” “Oh God, is Will vomiting inter-dimensional slugs into his sink?” “Will Dustin’s teeth finally come in?” Blissfully, these questions are all answered by the end of the first episode of season two; there aren’t many resolutions we must await. We begin almost a year after Will’s rescue from the Upside Down, and Eleven’s apparent disappearance into it.  Back in Right-Side Up Hawkins, things are relatively quiet.  Naturally, our characters are still dealing with some fallout from season one.  Will is plagued by periodic “episodes” that seem to transport him, psychically, to the Upside Down.  Every night for about 350 days, Mike tries to contact Eleven via his walkie-talkie.  Hopper is visited by a reporter investigating the conspiracy surrounding the disappearance of Barb Holland, before he’s called about an attack on local crops that make pumpkins look suspiciously like hatched xenomorph-eggs.

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