When I was eight years old, my mother made the very unfortunate decision to let me watch Fatal Vision (1984), a made for television movie recounting the suspected murder of a pregnant woman and her two children by her Green Beret husband. To call the experience traumatic would be a vast understatement. Not only did I hide all the kitchen knives much to my grandmother’s chagrin, but I also made it a point to sleep under a wall of stuffed animals thinking that they’d provide the necessary protection should a family member decide to gut me in the middle of the night. My lingering psychosis aside, there is something about watching on the small screen a classically constructed horror film with clearly defined television tropes that makes the horror feel more intimate. Here is my list of the top 10 scariest, most tingle inducing made for television movies ever to air on American broadcast television.
Unfriended (2015)
R | 83min | 2015 | USA | Levan Gabriadze
Synopsis: On the one-year anniversary of the death of a fellow classmate, six friends are forced to remain online and answer to her spirit.
Review: Horror fans will find better acting and more thrills in an episode of ABC’s Pretty Little Liars.
Unfriended takes a staple of the horror tradition—teens getting killed one at a time—and gives it an innovative twist: the entire film is “set” (if that’s the right word) on the desktop of the main character, Blaire Lily (Shelley Hennig). Through the course of the film, Blaire skypes with her boyfriend and friends, messages on Facebook, watches YouTube videos, and Googles a few things. The film immerses us in a wholly cyber world in which people connect entirely through social media.
David Robert Mitchell’s It Follows (2014) is destined to be a classic horror film. It’s mesmerizing, chilling, and deeply unsettling. It’s indebted to the horror tradition, yet utterly distinct. On the surface, it’s about the classic equation of horror: sex = death. But underneath, it’s just about death—not violent, bloody, shocking death but death’s slow inexorability.
In its central plot device, It Follows draws from the slasher tradition: you have sex, you die, not at the hands of a knife-wielding monster but in the form of something that acts like a virus. Some “thing” as Hugh (Jake Weary) tells the protagonist, Jay (brilliantly played by Maika Monroe), after he’s passed it on to her, will now follow you: it won’t run; it’ll only walk, but it won’t stop and if it touches you, you’re dead. We see the influence of Gore Verbinski’s The Ring (2002) here. For now Jay has something of an ethical dilemma: does she pass on the fatal “thing”? To whom?
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There is a debate among scholars, psychoanalysts, philosophers, and spectators as to the allure of horror. Generally speaking theories include manifesting repressed feelings, seeking to see others punished / survive, sensation seeking, purging of emotions, and as an outlet for societal ills.[i] In an attempt to weigh in on this discussion I argue that the allure of horror films is largely linked to the acceptance of the darkness in our hearts. It is about the gratification of letting your socially uncomfortable traits frolic amongst the others for 90 minutes. [ii] While this may seem dangerously close to the catharsis school of thought, I diverge by adding a few other mechanisms. For one, I don’t feel as if we need to be purged of these feelings that society deems undesirable. Furthermore, I believe there are three overarching components to the enticement of horror films: 1) engagement in the illicit; 2) the comprehensive, visceral body sensations; 3) and most importantly, the admission that we all have a dark side.
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