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Christmas

Posted on December 3, 2025

A Must-Watch for the Holiday Season: Kier-La Janisse’s The Occupant of the Room

Dawn Keetley

It’s the holiday season – and Severin Films has released a new episode of The Haunted Season entitled The Occupant of the Room (an adaptation of Algernon Blackwood’s 1909 story of the same name), now streaming on Shudder.[1] It’s a wonderful film, a perfect eerie ghost story – better, to be honest, than most of the recent fare in BBC’s A Ghost Story for Christmas series. My review, below, includes a brief interview with director and writer, Kier-La Janisse.

Algernon Blackwood’s “The Occupant of the Room” is about a school teacher who arrives late at night at an inn in the Alps, the “Dent de Midi,” only to find there are no rooms available.[2] He is eventually offered a room that is not quite unoccupied – that is to say, it is possibly occupied. The porter tells the teacher that “the real occupant of the room” is an English woman who had insisted on venturing out alone into the Alps two days ago. She hadn’t returned (yet), but may do so at any moment. She may be the “real” occupant of the room, but she’s not the actual occupant of the room – hence its uncertain status as part occupied, part unoccupied. That the room is a liminal space defines the story, which takes place only within its confines, as one occupant, the school teacher, deals with the lingering presence of the other, his possible predecessor but also possibly successor. As Blackwood writes, in a crucial sentence, “One moment the atmosphere seemed subtly charged with a ‘just left’ feeling – the next it was a queer awareness of ‘still here’ that made him turn cold and look hurriedly behind him.”

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Posted on February 4, 2018

Better Watch Out and the Era of Trump

Elizabeth Erwin

Despite being filmed in Australia, Chris Peckover’s Better Watch Out (2016) is a film that very much feels like it belongs in Trump’s America. From the way wealth and privilege are leveraged to create a veneer of normalcy to the intersection of male privilege and childhood, this film’s messaging is situated directly in those conversations being held in the American cultural sphere.

The film’s storyline is a relatively simple one. Having arrived at the Lerner residence to babysit 12-year-old Luke (Levi Miller), Ashley’s (Olivia DeJonge) expected quiet evening takes a dramatic turn when she is forced to guard her charge and his best friend, Garrett (Ed Oxenbould), against a home intruder. But things quickly take a turn when Ashley discovers that her biggest threat comes from the person she’d least suspect. Read more

Posted on December 23, 2015

Silent Night, Deadly Night (1984): Connecting Depravity with Childhood Trauma

Elizabeth Erwin

The corruption of childhood by adults, both neglectful and deranged, is a predictable staple of American horror films. Throw in a murderous Santa Claus and a whip-wielding nun and the moral depravity gets ratcheted up ten-fold. Such is the case in Charles E. Sellier, Jr.’s Silent Night, Deadly Night. Residing between ridiculously quotable dialogue and an endless array of sexual, albeit creative, violence is a pointed commentary on the connection between depravity and trauma. The film’s message is clear: it isn’t so much the creatures of myth (Santa, The Boogeyman) children ought to fear but the adults who surround them.

You know a horror film has ticked all the right boxes when the PTA petitions to have it banned. Such was the case in 1984 when Silent Night, Deadly Night opened and immediately raised the hackles of media watchdog groups. Despite its opening weekend grossing more than A Nightmare on Elm Street, TriStar Pictures pulled the plug on its media campaign and the film quickly faded from theatres.

In many respects, the controversy surrounding the 1984 release of the film as well as its advertisements showing an axe-hefting Santa Claus emerging from a chimney seems an echo of a simpler time. People still picketed theatres and film critics still had the power to shape public perception. Consider Leonard Maltin who gave Silent Night, Deadly Night zero stars and predicted the next thing filmgoers would be subjected to would be the Easter Bunny as a child molester. Also weighing in were the notable film critic duo of Siskel and Ebert. Their eviscerating review of the film, in which they called out by name—repeatedly—the people associated with the film, is the stuff of legend:

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