- Horror Movie - Horror Homeroom

Posted on July 7, 2015

Up from the Depths (1979) Film Review

Directed by Charles B. Griffith, Up from the Depths is a gloriously hokey film that is less monster horror and more spoof horror, although that may not have been its intention. Capitalizing on the shark mania created by Jaws, the film echoes its film predecessor in delightfully absurd ways. The plot is a relatively straightforward one. After a significant underwater earthquake, a prehistoric shark rises up and immediately begins feasting upon the vacationers of a high-end resort. That the resort in question looks more like a set reject from Fantasy Island and less an affluent playground is just one of the many ways this film continually reminds us not to take it too seriously.

Posted on July 1, 2015

MTV’s Scream Review: Pilot

Elizabeth Erwin

When news broke that MTV was going to try its hand at episodic horror and that they had selected the Scream franchise as its model, many were wondering how the slasher elements would transfer to the small screen. Unlike other horror genres that seem an ideal fit for serialized and anthology television, slasher films often use a very specific pacing structure that can be hard to mimic beyond 90 minutes.

As a fan of the franchise, I was dismayed to learn that part of the deal to have Scream come to the small screen was an agreement that effectively took the prospect of a Scream 5 theatrical release off the table. Was the decision a sound one? Based upon the pilot, the jury is still out. If the 1996 Scream film was a self-referential slasher dripping with a 90s sensibility, MTV’s revamped version is a generic mishmash of slasher tropes with a decidedly 2015 flair. The end result is an uneven pilot that dangles enough questions of interest to merit tuning in for episode two.

Posted on June 26, 2015

Burying the Ex: Tedious Zombie Comedy

Elizabeth Erwin

Released June 19, 2015 via Video On Demand, Burying the Ex is a tedious foray into the world of zombie comedy. With characters devoid of any personality and a running time that far exceeds the material, this film achieves neither the humor nor the scares inherent in the zombie comedy genre.

To be fair, fusing horror and comedy is always tricky. While some films excel at blending these two genres (Psycho Beach Party, Tucker and Dave vs Evil), others tend to focus on one part of the equation at the expense of the other (Haunted Honeymoon, I Bought a Vampire Motorcycle). But rarely has a film so completely missed the mark so as to be rendered as utterly boring as Burying the Ex.

Posted on June 22, 2015

Coded Queerness in Dracula’s Daughter (1936)

Elizabeth Erwin

Last week we took a look at how the Legion of Decency’s strict moral code caused horror filmmakers to get creative in their depictions of queerness. This week we are looking at how coding in a film works. Dracula’s Daughter (1936) traces the struggle of Hungarian Countess Marya Zaleska who, upon learning of the death of her father Count Dracula, believes the curse of her being a vampire will be lifted. When her hope is not fulfilled, she enlists the assistance of psychiatrist Dr. Jeffrey Garth whom she believes has the power to cure her. When his help too proves ineffectual, Marya flees to Transylvania intent on turning Garth into a vampire and her everlasting companion. As noted by film historians, Dracula’s Daughter contains a number of scenes in which a lesbian subtext is evident.

Posted on June 15, 2015

The Legion of Decency & Perversion in Early Horror

Elizabeth Erwin

As a genre known for pushing the boundaries of good taste, horror films occupy a unique position within American cinema. Because horror triggers an emotional response in audiences via the presentation of scenes meant to revile and offend, what is deemed to be horrific is largely dependent upon the time in which a film is made. In the 1930s, horror films were in a state of evolution. Trading in the supernatural, dreamlike qualities that defined 1920s horror, the films of the 1930s relied upon “otherness” as a marker of monstrosity. Villains came from far away lands and posed a threat to the American dream. Complicating these narrative was a calculated movement by critics of the genre concerned that depictions of perversion and violence within films were threatening the moral integrity of the culture. The end result of this effort to “clean up” films was a move by those making horror films to code stories so as to not arouse criticism.