Horror Homeroom

Posted on September 23, 2017

Thoroughbreds

Dawn Keetley

Thoroughbreds (USA; 2017) is written and directed by Cory Finley, his first feature film. It began life as a play, but, as Finley was writing it, he told the audience at Fantastic Fest, he realized that he was seeing parts of his story cinematically. So Thoroughbreds became a film starring Anya Taylor-Joy, who plays Lily, and Olivia Cooke, who plays Amanda.

Lily and Amanda are two wealthy former friends (sort of) finishing up high school in Connecticut. They are thrust together when Amanda’s mother pays Lily to tutor her. From beginning to end, the film is about the two girls’ relationship, which flourishes under Amanda’s relentless unconventionality and honesty, as she pushes Lily to be more honest about herself. It doesn’t take long for Amanda to learn that Lily hates her stepfather (Paul Sparks). Does she have reason to hate him as much as she does? Maybe. The film goes to the brink of portraying him as abusive, possibly to Lily, possibly to Lily’s mother, but it stops short and we wonder if maybe he’s just a rather run-of-the-mill jerk. Either way, the amoral Amanda suggests an unthinkable plan to Lily, and the plot then takes a dark turn, wending its way into increasingly unexpected terrain.

Posted on September 20, 2017

Where to Start with Silent Horror Films

Guest Post

Everyone knows the image: a bald, pale figure with impossibly long fingers rises out of his coffin. That’s of course Nosferatu, one of cinema’s great horror icons. Silent films are such a part of our culture that we can recognize so many moments from them, even if we haven’t seen a single movie. If you’ve ever wanted to check out silent horror films but were unsure of where to start, this is a list of the ten most representative films of the era. Made across two continents and two decades, these touch on everything from slashers, to the supernatural, to body horror.

As of this writing, most of these films are easily available on YouTube, but the best place to watch them is through one of their many DVD reissues. Silent films often get a bad rap simply because people don’t have access to prints that aren’t fuzzy, jumpy, and incomplete. That said, you really should watch these movies any way you can. They’re not just an educational look at how horror cinema started. They’re also scary as hell.

Posted on September 17, 2017

Aronofsky’s mother! Unabashed Misogyny

Dawn Keetley

This post contains spoilers; I thought about it long and hard but was unable to write about mother! without discussing the ending.

Darren Aronofsky’s most recent film was preceded by a suitably vague trailer that quite effectively, as it turned out, disguises what his film is actually about.

And much of the film, like the trailer, is intriguing because it doesn’t give away what’s going on, what kind of film mother! is. It trades in many horror film conventions, raising all kinds of expectations: there’s a couple isolated in a house, each with a mysterious past; there’s a house that seems itself to be sentient, alive; there are uninvited guests who quickly turn hostile (is this a home invasion film?); and there’s an uncanny pregnancy (Roman Polanski’s Rosemary’s Baby is one of the principal cinematic touchstones of Mother!). Jennifer Lawrence does a great job of playing the standard “haunted house” protagonist, especially after she becomes pregnant, a woman who may or may not be seeing what’s actually there, may or may not be experiencing hallucinations. Indeed, for much of its run-time, mother! seems like a gothic horror film, a subgenre that is notable for featuring strong women and feminist themes.

Posted on September 15, 2017

Horror Island: The Difference Between Scary and Spooky

Guest Post

Despite having “horror” in the title, Universal’s 1941 film Horror Island (George Waggner) isn’t particularly horrific. Sure, some people get murdered off-camera and a corpse gets shoved into knight armor, but precious few viewers—either then or now—would ever suffer nightmares from this film.

In short, Horror Island isn’t scary, but that doesn’t mean it has nothing to offer horror fans. In fact, it’s an immensely watchable hour of entertainment. Why? Because it’s spooky.

Posted on September 12, 2017

Get Out and Scientific Racism

Guest Post

Jordan Peele’s Get Out is a visceral viewing experience, which has made it- for me- difficult to write about. The creeping terror of the film is difficult to watch, but, as I watched, I was struck by the role scientific racism played throughout the film. Scientific racism is predicated on the belief that whiteness is evolutionarily superior to non-whiteness, and that races are genetically predisposed to have different strengths. Usually, white people are presumed to have mental acumen, while black people have physical prowess. It is opinion issued under the cover of being fact. When we think of racism, we often conjure images of vitriolic passion. But we overlook the role that dispassionate racism- under the guise of reason – plays and the harm it causes as a structure of oppression embedded in science.

Get Out is predicated on this very danger, represented by the “comfortable” white liberal, the person who tells you they voted for Obama, but still, in their marrow, believes that racial differences are scientifically preordained as hierarchical. The concept of “good” and “progressive” whiteness plays into the churning evil within the film and the distress we as viewers feel while watching. Whiteness, in the hands of the Armitage family, becomes a tool as effective and as malicious as Dean’s scalpel and Missy’s tea cup.