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Posted on August 16, 2019

Starve Acre & Andrew Michael Hurley’s Unparalleled Folk Horror Fiction

Dawn Keetley

Andrew Michael Hurley’s third novel, Starve Acre, is due out from John Murray on the highly appropriate date of October 31, 2019. Hurley is the author of two prior novels—the critically acclaimed The Loney (2014) and Devil’s Day (2017)—both of which fall loosely within the ‘folk horror’ subgenre. Fans of Hurley’s first two novels, and of folk horror in general, will be happy to hear that Starve Acre is positioned still more firmly within the folk horror tradition; it is a brilliant interweaving of psychological realism, folklore, and the haunting presence of the supernatural. I would put it in the company of some of M. R. James’s fiction, Daphne du Maurier’s ‘Don’t Look Now’ (1971, and Nicolas Roeg’s 1973 film), Piers Haggard’s The Blood on Satan’s Claw (1971), and Ira Levin’s Rosemary’s Baby (as well as Roman Polanski’s 1968 adaptation).

Posted on July 21, 2019

Styx and the ‘Monstrous-Migrant’

Dawn Keetley

Styx (2018) is a taut psychological drama from Austrian director Wolfgang Fischer that turns to horror near its end, offering something of a commentary on horror as it does so. Indeed, Styx is part of an emerging sub-genre of horror that I’m calling the ‘monstrous-migrant’, after Barbara Creed’s ‘monstrous-feminine’.

The film follows a German doctor, Rike (Susanne Wolff), who lives and works in Gibraltar. The first scenes of the film, which show her at work as a trauma physician, are almost entirely silent and dark and strongly suggest the deadening nature of her work. One morning, however, she packs her sailing boat the Asa Gray (named after US botanist and friend of Charles Darwin) with plentiful supplies and sets off to sail down the coast of Africa to Ascension Island in the South Atlantic Ocean.

Posted on July 16, 2019

Crawl: This Summer’s Must-See Naturalistic Creature Feature

Guest Post

For anyone who wished that last year’s shark movie The Meg had an R rating instead of a PG-13 rating, then Crawl won’t disappoint. Director Alexandre Aja’s alligator flick is a fun and gory romp, a nail-biting thriller with naturalistic undertones. While the film may not have as much to unpack as other horror hits this summer, namely Ari Aster’s Midsommar, it’s a wild ride that should titillate horror fans and make for a fun time at the movie theater.

The plot of Crawl, which is expertly written by Michael Rasmussen and Shawn Rasmussen, is straightforward. College swim star Haley (Kaya Scodelario) returns to her childhood home in Florida to locate her father, Dave (Barry Pepper), a recent divorcee who went missing after he was attacked by a gator while trying to fix a pipe in the basement, amidst a Category Five hurricane. It’s probably best not to question why he didn’t just evacuate instead of worrying about home repairs. The film includes some family drama and internal demons, but generally, the plot is straightforward without much subtext. Read more

Posted on July 14, 2019

Stranger Things Season 3 Provides More Gore, More Queer, and More Female Fierceness

Guest Post

Season three of the Duffer brothers’ mega-hit Stranger Things has the fizzy pop feel of a high school rom-com seasoned with heavy dashes of cold war paranoia and splatter-gore grossness of 80s era films. Bowl cuts, bi-levels, and rainbow bright attire are set amidst a sinister Russian operation housed beneath Hawkins’ flashy new Starcourt mall. Extending the series’ admixture of horror and sci-fi elements, the new season regales viewers with exploding rats, human bodies turned into melted piles of blood-tinged gloop, and a gigantic excrement-hued monster.

The season, like the previous two, nods extensively towards iconic horror and sci-fi films. This intertextual aspect of the series, which includes enough Easter Eggs to make even the most avid egg-hunter happy, is most extensively informed by works from Steven Spielberg, Stephen King, and James Cameron. Yes, that’s right, all dudes.

Posted on May 26, 2019

The Perfection is Amazing – and Never What You Think

Dawn Keetley

As I am sure many people have done, I saw the preview for Richard Shepard’s The Perfection (2018) and started watching it with a certain set of expectations; I think I was imagining something along the lines of Single White Female (1992). I was wrong. Things took a turn—actually many turns—and I became completely unmoored, disoriented. The film twists violently several times, and there are at least two moments when what you think has just happened is literally overturned.

I’m not going to give anything away in this review. Everyone should just experience this crazy and disturbing film. And for those of you who, like me, may have thought The Perfection was not a “horror” film, rest assured that it unambiguously is. The fact that it is labeled “Drama, Mystery, Suspense” on the Rotten Tomatoes website is misleading. I was literally retching by around thirty minutes in and was transfixed and appalled when I was another thirty minutes in. And then was left gaping and deeply disturbed at the final scene—though it wasn’t like what came before wasn’t already plenty disturbing. Yes, The Perfection is a horror film. It’s got gore; it’s transgressive; it’s deeply unsettling; and it definitely has some social commentary, though the latter is subservient to complex storytelling, brilliant cinematography, and powerful performances.