- Horror Movie - Horror Homeroom

Posted on March 12, 2021

Eight Medical Horror Films (and Two Shorts) to Watch in Quarantine

Guest Post

It sure is a strange time to watch medical horror. The tensions underlying much of the horror genre are especially palpable when engaging with the creepy hospitals, contagion anxieties, and frightful institutions that are the trademarks of this medically-oriented subgenre. Is horror harmless fun, important cultural work, ghoulish grave-dancing, or all of the above? What is the point – and the ethical ramifications – of engaging with imagined versions of the calamities we are actually experiencing? As a partial answer, I offer these eight medical horror films (and two shorts!), which explore the many terrors, anxieties, and hopes that we associate with medicine. Read more

Posted on March 5, 2021

Revisiting The Dead Zone

Guest Post

This piece aspires to be a dual-purpose essay on the feature film adaptation of Stephen King’s The Dead Zone (1983). First, I will identify qualities that make it one of the most impactful of the King inspired movies almost 40 years after its original release. In the last several years societal events have led some to reevaluate The Dead Zone and ultimately recast it as a prescient political cautionary tale about the danger posed by aspiring demagogues. My second goal is to examine that claim’s validity more closely within the context of the film as a whole. Read more

Posted on February 18, 2021

Saint Maud: Who Cares for the Carers?

Guest Post

“I have so much respect for anyone in the medical profession, like, any area. I really think it’s the most important thing you can do with your life. Almost.” –Maud

Saint Maud is only partially about religion. It’s also about the horrors of isolation, end of life care, and mental illness. During this crucial moment when we’re lauding our healthcare workers as heroes, it’s also about the trauma of caretaking work and the easy neglect of those who do it. Read more

Posted on February 14, 2021

Red Dot – Survival Folk Horror

Dawn Keetley

Red Dot is a Swedish film released on Netflix US on February 11, 2021. Directed by Alain Darborg and written by Darborg and Per Dickson, Red Dot is a hybrid of survival horror, backwoods horror, and folk horror – more specifically, it’s part of a subgenre I call survival folk horror. Other examples include Deliverance (John Boorman, 1972), Eden Lake (James Watkins, 2008), and Calibre (Matt Palmer, 2018).

The film follows Stockholm couple Nadja (Nanna Blondell) and David (Anastasios Soulis), along with their dog Boris, as they decide to head north to isolated Bear Valley to ski, camp, and see the Northern Lights. On the way there, as they stop to get gas, they encounter two hunters who suggestively mock David as a “pretty boy” and eye Nadja, who is Black with a kind of contemptuous sexual aggression. Both David and Nadja are unnerved by this encounter, especially after David sees a gun and a severed reindeer head in the back of their truck. Pulling away from the gas pump, he bumps their truck, leaving a small dent. They drive away nonetheless.

Posted on February 6, 2021

Dr. Black, Mr. Hyde and White Monstrosity

Dawn Keetley

Dr. Black, Mr. Hyde (1976, aka The Watts Monster), directed by William Crain (who also directed 1972’s Blacula) is a brilliant example of the power of Blaxploitation horror. It features Dr. Henry Pride (Bernie Casey), a successful physician and medical researcher. The son of a maid, Pride has managed to work his way into the affluent white enclave around UCLA, but he travels to Watts to see patients at the free clinics populated by the neighborhood’s poor, Black residents. In a more psychological form of return, Pride’s research efforts are directed toward a cure for cirrhosis of the liver, the disease that killed his mother. Pride’s mother worked in a high-class (presumably white) brothel[i] and drank to dull the despair at spending her days “cleaning up the filth.” Desperate to find human subjects on which to test his cure, Pride injects himself with his own drug and turns into a violent white monster, one who returns to Watts not to cure but to kill.