O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:100:"The Enduring Power of Oscar-Winning Horror Classic ‘Dr. Jekyll and Mr. Hyde’ [Gods and Monsters]";s:4:"link";s:139:"https://moviestoday.bbc-edition.com/scream-away/the-enduring-power-of-oscar-winning-horror-classic-dr-jekyll-and-mr-hyde-gods-and-monsters/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Wed, 09 Feb 2022 00:46:24 +0000";s:8:"category";s:71:"Scream AwayClassicEnduringGodsHorrorHydeJekyllMonstersOscarWinningPower";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=17129";s:11:"description";s:711:"1931 is the foundational year for the horror film. It is the year in which all the strands and experiments of the silent era crystalized into the genre we now know. Even the term “horror movie” was not in wide use before 1931. Four films in particular have had a lasting impact on the genre ... Read more";s:7:"content";a:1:{s:7:"encoded";s:17511:"

1931 is the foundational year for the horror film. It is the year in which all the strands and experiments of the silent era crystalized into the genre we now know. Even the term “horror movie” was not in wide use before 1931. Four films in particular have had a lasting impact on the genre that is still felt to this day. Dracula and Frankenstein are the two most often mentioned in conversations of that year’s horror films, but also important are Fritz Lang’s M for essentially inventing the serial killer subgenre, and Rouben Mamoulian’s Oscar-winning horror movie Dr. Jekyll and Mr. Hyde.

By 1931 the effects of the Great Depression had reached Hollywood. Studios across the board needed hits but few were having much success. Notable exceptions to this generality were Warner Brothers with their low-budget gangster pictures Little Caesar and The Public Enemy and Universal with the massive success of Dracula. Universal itself immediately began seeking a follow-up to capitalize on Dracula’s success, eventually deciding on two more literary adaptations, Frankenstein released in late November, and Murders in the Rue Morgue which eventually went to theaters in early 1932. The prestigious Paramount studio also took notice of the success of Dracula and decided to remake a property they already owned, originally planning to cast the star of that earlier version.

John Barrymore was already a legendary stage actor when he starred in the 1920 silent version of Dr. Jekyll and Mr. Hyde. He was offered a handsome sum to reprise the role just over a decade later, but by this time he had signed a contract with MGM, and it proved impossible for him to participate. Paramount moved on to their next choice, Irving Pichel, but the director the studio had hired, respected stage director Rouben Mamoulian, objected, citing that Jekyll should be played by a younger man. According to a 1971 interview, Mamoulian felt, “rebellion and transformation is more interesting when it is the result of the ferment of youthful aspirations.” He then suggested an actor that the studio initially balked at, the handsome stage presence with only secondary roles in lighter films to his name, Frederic March. Despite their objections, Paramount relented due to Mamoulian’s reputation and force of personality.

As with most Jekyll and Hyde films, the script called for a “good girl” and a “bad girl” to serve as love interest and conflict for the two faces of Jekyll and to underscore the themes of duality in the story. For Jekyll’s fiancée, Muriel, rising Paramount leading lady Rose Hobart was cast. Though she never reached the heights of stardom, she would become a familiar face both in and out of the genre with roles in Tower of London (1939) and Isle of the Dead (1945)—both of which feature Boris Karloff, The Mad Ghoul (1943) and The Cat Creeps (1946). She is the heart and compassion of the film but the role itself pales when placed next to the “bad girl” of the story.

Miriam Hopkins already had a reputation by 1931 of being quite a diva. She would often make life difficult for her costars and few who worked with her had very nice things to say about the experience, including Frederic March on this film. Hopkins also had a long-running feud with legendary actress Bette Davis who accused her of using “every trick in the book” for upstaging her fellow performers. Rouben Mamoulian even used some trickery to work around these habits on Jekyll and Hyde. The director also hand picked her for the role of Ivy Pearson because he knew that Hopkins was absolutely electrifying on screen. In the film, she gives a performance just as worthy of an Oscar as March, particularly in the scene in which she goes to Jekyll’s home pleading for protection from Hyde. She would go on to work with some of Hollywood’s great filmmakers, most notably Ernst Lubitsch, William Wyler, and Arthur Penn, but her reputation of being difficult to work with also followed her, forcing her into smaller and smaller roles over time.

Dr. Jekyll and Mr. Hyde is a perfect example of the “pre-code” era of Hollywood. Though The Motion Picture Production Code, a list of dos and don’ts for industry self regulation and censorship, was officially adopted in 1930, it was not rigidly enforced until 1934. Films made between the time of adoption and enforcement tend to try to push the limits of the Code, particularly when dealing with sexuality and violence. Jekyll and Hyde is especially frank in its sexuality both in the text and subtext. The reason why Jekyll takes the potion before an evening out is because his marriage continues to be postponed and he turns himself into Hyde to satisfy his sexual frustrations. The role of Ivy is a sympathetic portrayal of a sex worker with Miriam Hopkins’ dynamic portrayal drawing further empathy and compassion for her plight from the audience. Early in the film, the Freudian symbolism of Jekyll placing his cane in the garter Ivy has removed and tossed to the floor is clear. In the same scene, when Jekyll orders her to rest, she provocatively strips her clothes in an attempt to entice the good doctor. The suggestive sequence ends with a long dissolve of Ivy’s bare leg with a garter around her thigh swinging back and forth like a hypnotist’s pendulum.

hyde 3

In the character of Hyde, the film comments on toxic masculinity a good eighty plus years before the term came into common usage. Hyde is a manipulator and an abuser. He berates, whips, rapes, and eventually murders Ivy, never feeling a bit of remorse. Hyde’s outward appearance grows more hideous the darker his soul becomes. Both his inner and outer disfigurements become all-the-more revolting when contrasted against the handsome, generous, compassionate, and almost saintly Dr. Jekyll.

The film spends a great deal of time at the beginning establishing Jekyll’s goodness. At times, he is given practically messianic qualities such as when he takes a young girl’s crutches and urges her to walk, which she is miraculously able to do at his urging. Unlike most werewolf movies (essentially the folk-tale version of the story), Hyde remembers what he does as Jekyll and Jekyll remembers what he does as Hyde. This adds greatly to the guilt and pathos of Jekyll and makes it even more devastating when he is unable to control the beast within him and begins turning into Hyde without the aid of the drug. It is without a doubt the range of the performance that ultimately earned March his Best Actor Oscar for the film.

Another distinctive aspect of this version of Jekyll and Hyde is the unique take on Hyde’s look. He is the most simian looking interpretation of the character, reflective of the increasing acceptance of Darwin’s theory of evolution at the time. The makeup, created and applied by Wally Westmore, was based on artist concepts of Neanderthals, and made March practically unrecognizable while playing Hyde. It also proved to be a torturous experience for the actor. Much of the makeup consisted of liquid latex applied directly to his face and removing it peeled away layers of skin. The final version of the makeup seen toward the end of the film nearly caused permanent disfigurement and required March to undergo a three-week hospital stay. The role that won him the Oscar very nearly ended his career.

hyde 4

One of the greatest impacts on the horror genre for decades to come is Mamoulian’s use of the subjective camera. In the opening shots, we see through Jekyll’s eyes, a moment that is believed to be a cinematic first. The technique was rarely used (1947’s Dark Passage starring Humphrey Bogart and Lauren Bacall is a notable exception) until its innovative use in Bob Clark’s Black Christmas in 1973 and John Carpenter’s Halloween in 1978. Now, the “killer POV” is a staple of horror films, particularly within the slasher subgenre. Another key directorial touch is Mamoulian’s use of wipes that split the screen, again underscoring the film’s themes of duality.

The fact that Dr. Jekyll and Mr. Hyde was based on a literary classic saved it from being heavily censored in 1931. Before the film was sent for approval, Paramount removed two scenes, one in which Hyde throws a kitten into a river and another where he stomps on a child, though stills remain from the latter scene. The main sequence to be cut down by the censors was Ivy’s strip in her bedroom and Chicago regional censors asked for a few further cuts. Despite these minor changes, the film remained relatively untouched when it premiered in New York on New Year’s Eve 1931 and opened to record audiences in early January of 1932.

As was the fate of many films of the pre-code era, Jekyll and Hyde was heavily censored and seventeen minutes were cut from it for its re-release in the late ’30s. Some of the cuts were for content, but many more were simply for time, making it about the same length as the Universal horror films of the period, and allowing exhibitors to fit in another showing per day. The film was sold to MGM in the early ’40s to make way for their new version starring Spencer Tracy and languished in a vault for decades before finally being rediscovered. It was released in its truncated form on VHS before finally being restored to its original length in the late 1990s for its DVD release. Unfortunately, the film has never gotten the kind of restorative attention that Dracula and Frankenstein have received over the years and has not yet had any further home video releases in high-definition formats, though it is available for streaming on some platforms.

In spite of this, the film remains incredibly important to the horror genre for the reasons already discussed and more. Frederic March’s performance is groundbreaking and quite astounding even to this day. The film itself explores the deepest darkness of the human heart and, with the exception of Hyde, represents its characters with deep humanity and sympathy. It is a powerful portrait of how our most base impulses can destroy us and those around us. It is a story of addiction, self-destruction, desire, and ultimate redemption. These themes and ideas remain compelling because it examines the core of the human heart of darkness, a darkness that still endures after ninety years and, unfortunately, will surely remain far longer than ninety years to come. Because of its frank explorations of our higher and lower natures, Dr. Jekyll and Mr. Hyde continues to be a deeply effective and affecting work of art.

hyde 5


In Bride of Frankenstein, Dr. Pretorius, played by the inimitable Ernest Thesiger, raises his glass and proposes a toast to Colin Clive’s Henry Frankenstein—“to a new world of Gods and Monsters.” I invite you to join me in exploring this world, focusing on horror films from the dawn of the Universal Monster movies in 1931 to the collapse of the studio system and the rise of the new Hollywood rebels in the late 1960’s. With this period as our focus, and occasional ventures beyond, we will explore this magnificent world of classic horror. So, I raise my glass to you and invite you to join me in the toast.

We would love to say thanks to the author of this post for this remarkable content

The Enduring Power of Oscar-Winning Horror Classic ‘Dr. Jekyll and Mr. Hyde’ [Gods and Monsters]

";}s:7:"summary";s:711:"1931 is the foundational year for the horror film. It is the year in which all the strands and experiments of the silent era crystalized into the genre we now know. Even the term “horror movie” was not in wide use before 1931. Four films in particular have had a lasting impact on the genre ... Read more";s:12:"atom_content";s:17511:"

1931 is the foundational year for the horror film. It is the year in which all the strands and experiments of the silent era crystalized into the genre we now know. Even the term “horror movie” was not in wide use before 1931. Four films in particular have had a lasting impact on the genre that is still felt to this day. Dracula and Frankenstein are the two most often mentioned in conversations of that year’s horror films, but also important are Fritz Lang’s M for essentially inventing the serial killer subgenre, and Rouben Mamoulian’s Oscar-winning horror movie Dr. Jekyll and Mr. Hyde.

By 1931 the effects of the Great Depression had reached Hollywood. Studios across the board needed hits but few were having much success. Notable exceptions to this generality were Warner Brothers with their low-budget gangster pictures Little Caesar and The Public Enemy and Universal with the massive success of Dracula. Universal itself immediately began seeking a follow-up to capitalize on Dracula’s success, eventually deciding on two more literary adaptations, Frankenstein released in late November, and Murders in the Rue Morgue which eventually went to theaters in early 1932. The prestigious Paramount studio also took notice of the success of Dracula and decided to remake a property they already owned, originally planning to cast the star of that earlier version.

John Barrymore was already a legendary stage actor when he starred in the 1920 silent version of Dr. Jekyll and Mr. Hyde. He was offered a handsome sum to reprise the role just over a decade later, but by this time he had signed a contract with MGM, and it proved impossible for him to participate. Paramount moved on to their next choice, Irving Pichel, but the director the studio had hired, respected stage director Rouben Mamoulian, objected, citing that Jekyll should be played by a younger man. According to a 1971 interview, Mamoulian felt, “rebellion and transformation is more interesting when it is the result of the ferment of youthful aspirations.” He then suggested an actor that the studio initially balked at, the handsome stage presence with only secondary roles in lighter films to his name, Frederic March. Despite their objections, Paramount relented due to Mamoulian’s reputation and force of personality.

As with most Jekyll and Hyde films, the script called for a “good girl” and a “bad girl” to serve as love interest and conflict for the two faces of Jekyll and to underscore the themes of duality in the story. For Jekyll’s fiancée, Muriel, rising Paramount leading lady Rose Hobart was cast. Though she never reached the heights of stardom, she would become a familiar face both in and out of the genre with roles in Tower of London (1939) and Isle of the Dead (1945)—both of which feature Boris Karloff, The Mad Ghoul (1943) and The Cat Creeps (1946). She is the heart and compassion of the film but the role itself pales when placed next to the “bad girl” of the story.

Miriam Hopkins already had a reputation by 1931 of being quite a diva. She would often make life difficult for her costars and few who worked with her had very nice things to say about the experience, including Frederic March on this film. Hopkins also had a long-running feud with legendary actress Bette Davis who accused her of using “every trick in the book” for upstaging her fellow performers. Rouben Mamoulian even used some trickery to work around these habits on Jekyll and Hyde. The director also hand picked her for the role of Ivy Pearson because he knew that Hopkins was absolutely electrifying on screen. In the film, she gives a performance just as worthy of an Oscar as March, particularly in the scene in which she goes to Jekyll’s home pleading for protection from Hyde. She would go on to work with some of Hollywood’s great filmmakers, most notably Ernst Lubitsch, William Wyler, and Arthur Penn, but her reputation of being difficult to work with also followed her, forcing her into smaller and smaller roles over time.

Dr. Jekyll and Mr. Hyde is a perfect example of the “pre-code” era of Hollywood. Though The Motion Picture Production Code, a list of dos and don’ts for industry self regulation and censorship, was officially adopted in 1930, it was not rigidly enforced until 1934. Films made between the time of adoption and enforcement tend to try to push the limits of the Code, particularly when dealing with sexuality and violence. Jekyll and Hyde is especially frank in its sexuality both in the text and subtext. The reason why Jekyll takes the potion before an evening out is because his marriage continues to be postponed and he turns himself into Hyde to satisfy his sexual frustrations. The role of Ivy is a sympathetic portrayal of a sex worker with Miriam Hopkins’ dynamic portrayal drawing further empathy and compassion for her plight from the audience. Early in the film, the Freudian symbolism of Jekyll placing his cane in the garter Ivy has removed and tossed to the floor is clear. In the same scene, when Jekyll orders her to rest, she provocatively strips her clothes in an attempt to entice the good doctor. The suggestive sequence ends with a long dissolve of Ivy’s bare leg with a garter around her thigh swinging back and forth like a hypnotist’s pendulum.

hyde 3

In the character of Hyde, the film comments on toxic masculinity a good eighty plus years before the term came into common usage. Hyde is a manipulator and an abuser. He berates, whips, rapes, and eventually murders Ivy, never feeling a bit of remorse. Hyde’s outward appearance grows more hideous the darker his soul becomes. Both his inner and outer disfigurements become all-the-more revolting when contrasted against the handsome, generous, compassionate, and almost saintly Dr. Jekyll.

The film spends a great deal of time at the beginning establishing Jekyll’s goodness. At times, he is given practically messianic qualities such as when he takes a young girl’s crutches and urges her to walk, which she is miraculously able to do at his urging. Unlike most werewolf movies (essentially the folk-tale version of the story), Hyde remembers what he does as Jekyll and Jekyll remembers what he does as Hyde. This adds greatly to the guilt and pathos of Jekyll and makes it even more devastating when he is unable to control the beast within him and begins turning into Hyde without the aid of the drug. It is without a doubt the range of the performance that ultimately earned March his Best Actor Oscar for the film.

Another distinctive aspect of this version of Jekyll and Hyde is the unique take on Hyde’s look. He is the most simian looking interpretation of the character, reflective of the increasing acceptance of Darwin’s theory of evolution at the time. The makeup, created and applied by Wally Westmore, was based on artist concepts of Neanderthals, and made March practically unrecognizable while playing Hyde. It also proved to be a torturous experience for the actor. Much of the makeup consisted of liquid latex applied directly to his face and removing it peeled away layers of skin. The final version of the makeup seen toward the end of the film nearly caused permanent disfigurement and required March to undergo a three-week hospital stay. The role that won him the Oscar very nearly ended his career.

hyde 4

One of the greatest impacts on the horror genre for decades to come is Mamoulian’s use of the subjective camera. In the opening shots, we see through Jekyll’s eyes, a moment that is believed to be a cinematic first. The technique was rarely used (1947’s Dark Passage starring Humphrey Bogart and Lauren Bacall is a notable exception) until its innovative use in Bob Clark’s Black Christmas in 1973 and John Carpenter’s Halloween in 1978. Now, the “killer POV” is a staple of horror films, particularly within the slasher subgenre. Another key directorial touch is Mamoulian’s use of wipes that split the screen, again underscoring the film’s themes of duality.

The fact that Dr. Jekyll and Mr. Hyde was based on a literary classic saved it from being heavily censored in 1931. Before the film was sent for approval, Paramount removed two scenes, one in which Hyde throws a kitten into a river and another where he stomps on a child, though stills remain from the latter scene. The main sequence to be cut down by the censors was Ivy’s strip in her bedroom and Chicago regional censors asked for a few further cuts. Despite these minor changes, the film remained relatively untouched when it premiered in New York on New Year’s Eve 1931 and opened to record audiences in early January of 1932.

As was the fate of many films of the pre-code era, Jekyll and Hyde was heavily censored and seventeen minutes were cut from it for its re-release in the late ’30s. Some of the cuts were for content, but many more were simply for time, making it about the same length as the Universal horror films of the period, and allowing exhibitors to fit in another showing per day. The film was sold to MGM in the early ’40s to make way for their new version starring Spencer Tracy and languished in a vault for decades before finally being rediscovered. It was released in its truncated form on VHS before finally being restored to its original length in the late 1990s for its DVD release. Unfortunately, the film has never gotten the kind of restorative attention that Dracula and Frankenstein have received over the years and has not yet had any further home video releases in high-definition formats, though it is available for streaming on some platforms.

In spite of this, the film remains incredibly important to the horror genre for the reasons already discussed and more. Frederic March’s performance is groundbreaking and quite astounding even to this day. The film itself explores the deepest darkness of the human heart and, with the exception of Hyde, represents its characters with deep humanity and sympathy. It is a powerful portrait of how our most base impulses can destroy us and those around us. It is a story of addiction, self-destruction, desire, and ultimate redemption. These themes and ideas remain compelling because it examines the core of the human heart of darkness, a darkness that still endures after ninety years and, unfortunately, will surely remain far longer than ninety years to come. Because of its frank explorations of our higher and lower natures, Dr. Jekyll and Mr. Hyde continues to be a deeply effective and affecting work of art.

hyde 5


In Bride of Frankenstein, Dr. Pretorius, played by the inimitable Ernest Thesiger, raises his glass and proposes a toast to Colin Clive’s Henry Frankenstein—“to a new world of Gods and Monsters.” I invite you to join me in exploring this world, focusing on horror films from the dawn of the Universal Monster movies in 1931 to the collapse of the studio system and the rise of the new Hollywood rebels in the late 1960’s. With this period as our focus, and occasional ventures beyond, we will explore this magnificent world of classic horror. So, I raise my glass to you and invite you to join me in the toast.

We would love to say thanks to the author of this post for this remarkable content

The Enduring Power of Oscar-Winning Horror Classic ‘Dr. Jekyll and Mr. Hyde’ [Gods and Monsters]

";s:14:"date_timestamp";i:1644367584;}i:1;a:11:{s:5:"title";s:64:"The 10 Strangest Horror Movies Of The 1970s, According To Reddit";s:4:"link";s:112:"https://moviestoday.bbc-edition.com/scream-away/the-10-strangest-horror-movies-of-the-1970s-according-to-reddit/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 23:23:53 +0000";s:8:"category";s:43:"Scream Away1970sHorrorMoviesRedditStrangest";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=17082";s:11:"description";s:659:"In a decade populated by some of the horror genre’s best like The Exorcist and Halloween, it’s easy to miss out on some smaller, niche movies. But narratives that push their genre to the limits are worth seeking out, and 1970s horror is rife with them. RELATED: The 10 Strangest Horror Movies Of The 1980s, According To Reddit ... Read more";s:7:"content";a:1:{s:7:"encoded";s:29193:"

In a decade populated by some of the horror genre’s best like The Exorcist and Halloween, it’s easy to miss out on some smaller, niche movies. But narratives that push their genre to the limits are worth seeking out, and 1970s horror is rife with them.

RELATED: The 10 Strangest Horror Movies Of The 1980s, According To Reddit

While the 1980s would take horror in even less expected and outlandish directions, the ’70s set the path for what would follow. Halloween is the gold standard of starting a horror boom, but it wasn’t the only film of the decade to inspire filmmakers to this day.

The Wicker Man (1973)


the wicker man christopher lee

The Wicker Man is a British horror film with an utterly unforgettable ending. The plot follows a Police Sergeant as he tears apart an island in search of a missing girl. Unfortunately, she may be alive, well, and in on the island’s penchant for Celtic paganism.

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After The Wicker Man is mentioned in a list of noteworthy ’70s horror movies, Redditors began to lay in on the 2006 remake starring Nicolas Cage. Losman94 defined the experience of watching the 1973 version well, “The original is bats*** but much better and a classic.” The original is also easily one of Christopher Lee’s best movies outside of big-budget fantasy.

The Baby (1973)


A woman and a man acting like a baby in The Baby

The Baby was a psychological thriller following a social worker who receives a peculiar addition to her caseload. She’s sent to the Wadsworth home, which includes one member named “Baby” who is, in fact, a 21-year-old man.

One Redditor brought two interesting suggestions to the table, with the first being 1973’s The Baby. As Unklfesta wrote, “If you want to watch an incredibly strange and disturbing ’70s film, The Baby is completely bonkers.” NoMoMerdeDeToro responded with “‘Bonkers’ is the understatement of the year!” It may not be straightforward horror, but The Baby has had the effect on some viewers that are often provided by the best scary movies.


Trilogy Of Terror (1975)


The same Redditor who mentioned The Baby brought up 1975’s made-for-TV anthology movie Trilogy of Terror. Specifically, the film’s iconic third and final segment, “Amelia,” in which Karen Black’s Julie evades a sentient Zuni fetish doll throughout her high-rise apartment.

As Unklfesta said of the segment: “The third story Zuni Doll is legendary.” Trilogy of Terror was a cut above other scary made-for-TV movies; Black turned in outstanding performances throughout all three segments that rivaled her work in the best film of 1970: Five Easy Pieces. She also makes the final scene a horrifyingly memorable way to send off the audience.


Grizzly (1976)


A bear approaches a man with a helicopter in the background in Grizzly

As one of the more blatant Jaws knock-offs, Grizzly follows most of that masterpiece’s narrative beats to a tee. A now-deleted user phrased it well, writing “Grizzly! For the Cheese…So awesomely bad it’s brilliant.”

In a separate thread, Difethalone brought it up in a line of similarly absurd creature features: “GrizzlyProphecyThe EvilPiranhaRaw MeatOrcaThe PackShockScreamers some other good flicks not mentioned.” Screamers was a 1990s sci-fi horror film, but the rest were from the ’70s, and not all in the wake of Steven Spielberg’s shark blockbuster.

Burnt Offerings (1976)


Oliver Reed and Karen Black in Burnt Offerings

When a family rents a massive estate for an entire summer, they find their identities fading in favor of something more sinister. Burnt Offerings is notable for the power of its performances and its gut-punch of a final scene.


RELATED: The 10 Best Horror Movies Protagonists Of The 1970s

When Redditors were asked for cheesy horror movies, a now-deleted user gave two 1970s suggestions, including Burnt Offerings, which they called “good, over-the-top ’70s drive-in horror.” Mgcat17 did even better in describing the Oliver Reed-Karen Black film, calling it a “great slow, spooky movie if you want something more subtle.”

The Sentinel (1977)


The Sentinel (1977)

The Sentinel was mentioned alongside Burnt Offerings by the same now-deleted user, who suggested watching them as a “double feature with all kinds of fun cameos to keep it popping.” Like Burnt OfferingsThe Sentinel focuses on a haunted residence, but the apartment of the latter film may just be a gateway to Hell.


CONTENTHOMEBODY went into detail on why several classic ’70s horror movies are worth watching. For instance, the well-aged Carrie “for one of the very first gotchas at the end” and “The Hills Have Eyes to make sure you never want to go RV’ing again.” For The Sentinel, they wrote, “for that background creep factor.” Very well put, as the film really capitalizes on its involving cinematography and unsettling locales.

Eraserhead (1977)


Newborn in Eraserhead

David Lynch’s Eraserhead is more of a surreal arthouse film than a horror film, but it contains some nightmarish imagery that ranks along with anything from Wes Craven or John Carpenter. For instance, the protagonist’s baby is more lizard monster than human and at one point the protagonist has a waking nightmare of his own head rolling off. But regardless of categorization, those moments have proven to be frightening and memorable to Redditors.

RELATED: The 10 Best Directorial Debuts Of The 1970s

Dankmemem88 wrote “I could never finish Eraserhead. So disturbing and depressing.” A now-deleted user was more positive when writing about the film, “I absolutely adore it. The pervasive sense of unhappiness and just ‘wrongness’ is something that I’ve really only seen Lynch capture. It’s like watching a nightmare, and I love it for that.”

House (1977)


Several Redditors brought up House, which is not to be confused with the mid-1980s Steve Miner horror-comedy or the Hugh Laurie TV series. The plot of the Japanese film follows Gorgeous, who goes to her aunt’s isolated mansion with a few of her friends. Once they arrive, horrible events begin to occur, such as a painting of a cat that’s seemingly coming to life.

Grakercub wrote “I’ve seen House about four times now and every time ten minutes in I’m so confused as to why I made the decision to watch it again. It’s so fu***** weird and absolutely wonderful to watch.” DefiantTheLion then asked if it contained a specific scene, “Is that the one with the guy who turns into bananas?” to which another Redditor then responds in the affirmative. House is riddled with compelling and memorable imagery, including the example brought up by the user.

Phantasm (1979)


Angus Scrimm in Phantasm II

Don Coscarelli’s Phantasm is a unique movie with an even more distinctive antagonist. The Tall Man is instantly terrifying and his impact never really dies out throughout the first film’s runtime. He also employs the use of flying spiked, metallic balls.


A now-deleted user suggested Coscarelli’s movie along with classics like The OmenJaws, and Carrie. SnowWomble then hopped onto the thread and picked it out of the lot, writing “I came here to mention Phantasm. It gets quite often overlooked. Glad u got it on the list mate.”

The Brood (1979)


The creatures attacking a child in The Brood.

David Cronenberg’s The Brood may not be quite as effective as The Fly, but it’s comprised of similarly horrifying imagery. The plot follows Oliver Reed as a psychotherapist who begins utilizing a technique called psychoplasmics. Unfortunately, its recipients bear the bizarre side effect of spawning murderous child-size monsters.

Several Redditors brought up Cronenberg’s minor classic, like sleepingfrenzy, who just mentioned the title. But then prolelol came in with something they found particularly bizarre and memorable: “That final scene was hella disturbing.” Yet it was a now-deleted user‘s post that sold it, as they put it alongside some of the decade’s best: “Alien, Invasion of the Body SnatchersSuspiriaDawn of the DeadHalloweenThe Exorcist, and The Texas Chain Saw MassacreThe Brood….”

NEXT: The 10 Strangest Horror Movies Of The 1990s, According To Reddit

Aquaman 2 Poster Shows Jason Momoa's Hero With Blonde Hair & New Suit

Aquaman 2 Poster Shows Jason Momoa’s Hero With Blonde Hair & New Suit


About The Author


Ben Hathaway
(221 Articles Published)

Ben Hathaway is a Senior Writer (Lists) for Screen Rant. A former Therapeutic Day Treatment counselor, Ben is now a career writer. When not working, he is writing and self-publishing (on Amazon) novels under the name Scott Gray. In his spare time, he’s reading on the porch or watching every film under the sun. Ben can be contacted at scottgraywrk@gmail.com.

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The 10 Strangest Horror Movies Of The 1970s, According To Reddit

";}s:7:"summary";s:659:"In a decade populated by some of the horror genre’s best like The Exorcist and Halloween, it’s easy to miss out on some smaller, niche movies. But narratives that push their genre to the limits are worth seeking out, and 1970s horror is rife with them. RELATED: The 10 Strangest Horror Movies Of The 1980s, According To Reddit ... Read more";s:12:"atom_content";s:29193:"

In a decade populated by some of the horror genre’s best like The Exorcist and Halloween, it’s easy to miss out on some smaller, niche movies. But narratives that push their genre to the limits are worth seeking out, and 1970s horror is rife with them.

RELATED: The 10 Strangest Horror Movies Of The 1980s, According To Reddit

While the 1980s would take horror in even less expected and outlandish directions, the ’70s set the path for what would follow. Halloween is the gold standard of starting a horror boom, but it wasn’t the only film of the decade to inspire filmmakers to this day.

The Wicker Man (1973)


the wicker man christopher lee

The Wicker Man is a British horror film with an utterly unforgettable ending. The plot follows a Police Sergeant as he tears apart an island in search of a missing girl. Unfortunately, she may be alive, well, and in on the island’s penchant for Celtic paganism.

SCREENRANT VIDEO OF THE DAY

After The Wicker Man is mentioned in a list of noteworthy ’70s horror movies, Redditors began to lay in on the 2006 remake starring Nicolas Cage. Losman94 defined the experience of watching the 1973 version well, “The original is bats*** but much better and a classic.” The original is also easily one of Christopher Lee’s best movies outside of big-budget fantasy.

The Baby (1973)


A woman and a man acting like a baby in The Baby

The Baby was a psychological thriller following a social worker who receives a peculiar addition to her caseload. She’s sent to the Wadsworth home, which includes one member named “Baby” who is, in fact, a 21-year-old man.

One Redditor brought two interesting suggestions to the table, with the first being 1973’s The Baby. As Unklfesta wrote, “If you want to watch an incredibly strange and disturbing ’70s film, The Baby is completely bonkers.” NoMoMerdeDeToro responded with “‘Bonkers’ is the understatement of the year!” It may not be straightforward horror, but The Baby has had the effect on some viewers that are often provided by the best scary movies.


Trilogy Of Terror (1975)


The same Redditor who mentioned The Baby brought up 1975’s made-for-TV anthology movie Trilogy of Terror. Specifically, the film’s iconic third and final segment, “Amelia,” in which Karen Black’s Julie evades a sentient Zuni fetish doll throughout her high-rise apartment.

As Unklfesta said of the segment: “The third story Zuni Doll is legendary.” Trilogy of Terror was a cut above other scary made-for-TV movies; Black turned in outstanding performances throughout all three segments that rivaled her work in the best film of 1970: Five Easy Pieces. She also makes the final scene a horrifyingly memorable way to send off the audience.


Grizzly (1976)


A bear approaches a man with a helicopter in the background in Grizzly

As one of the more blatant Jaws knock-offs, Grizzly follows most of that masterpiece’s narrative beats to a tee. A now-deleted user phrased it well, writing “Grizzly! For the Cheese…So awesomely bad it’s brilliant.”

In a separate thread, Difethalone brought it up in a line of similarly absurd creature features: “GrizzlyProphecyThe EvilPiranhaRaw MeatOrcaThe PackShockScreamers some other good flicks not mentioned.” Screamers was a 1990s sci-fi horror film, but the rest were from the ’70s, and not all in the wake of Steven Spielberg’s shark blockbuster.

Burnt Offerings (1976)


Oliver Reed and Karen Black in Burnt Offerings

When a family rents a massive estate for an entire summer, they find their identities fading in favor of something more sinister. Burnt Offerings is notable for the power of its performances and its gut-punch of a final scene.


RELATED: The 10 Best Horror Movies Protagonists Of The 1970s

When Redditors were asked for cheesy horror movies, a now-deleted user gave two 1970s suggestions, including Burnt Offerings, which they called “good, over-the-top ’70s drive-in horror.” Mgcat17 did even better in describing the Oliver Reed-Karen Black film, calling it a “great slow, spooky movie if you want something more subtle.”

The Sentinel (1977)


The Sentinel (1977)

The Sentinel was mentioned alongside Burnt Offerings by the same now-deleted user, who suggested watching them as a “double feature with all kinds of fun cameos to keep it popping.” Like Burnt OfferingsThe Sentinel focuses on a haunted residence, but the apartment of the latter film may just be a gateway to Hell.


CONTENTHOMEBODY went into detail on why several classic ’70s horror movies are worth watching. For instance, the well-aged Carrie “for one of the very first gotchas at the end” and “The Hills Have Eyes to make sure you never want to go RV’ing again.” For The Sentinel, they wrote, “for that background creep factor.” Very well put, as the film really capitalizes on its involving cinematography and unsettling locales.

Eraserhead (1977)


Newborn in Eraserhead

David Lynch’s Eraserhead is more of a surreal arthouse film than a horror film, but it contains some nightmarish imagery that ranks along with anything from Wes Craven or John Carpenter. For instance, the protagonist’s baby is more lizard monster than human and at one point the protagonist has a waking nightmare of his own head rolling off. But regardless of categorization, those moments have proven to be frightening and memorable to Redditors.

RELATED: The 10 Best Directorial Debuts Of The 1970s

Dankmemem88 wrote “I could never finish Eraserhead. So disturbing and depressing.” A now-deleted user was more positive when writing about the film, “I absolutely adore it. The pervasive sense of unhappiness and just ‘wrongness’ is something that I’ve really only seen Lynch capture. It’s like watching a nightmare, and I love it for that.”

House (1977)


Several Redditors brought up House, which is not to be confused with the mid-1980s Steve Miner horror-comedy or the Hugh Laurie TV series. The plot of the Japanese film follows Gorgeous, who goes to her aunt’s isolated mansion with a few of her friends. Once they arrive, horrible events begin to occur, such as a painting of a cat that’s seemingly coming to life.

Grakercub wrote “I’ve seen House about four times now and every time ten minutes in I’m so confused as to why I made the decision to watch it again. It’s so fu***** weird and absolutely wonderful to watch.” DefiantTheLion then asked if it contained a specific scene, “Is that the one with the guy who turns into bananas?” to which another Redditor then responds in the affirmative. House is riddled with compelling and memorable imagery, including the example brought up by the user.

Phantasm (1979)


Angus Scrimm in Phantasm II

Don Coscarelli’s Phantasm is a unique movie with an even more distinctive antagonist. The Tall Man is instantly terrifying and his impact never really dies out throughout the first film’s runtime. He also employs the use of flying spiked, metallic balls.


A now-deleted user suggested Coscarelli’s movie along with classics like The OmenJaws, and Carrie. SnowWomble then hopped onto the thread and picked it out of the lot, writing “I came here to mention Phantasm. It gets quite often overlooked. Glad u got it on the list mate.”

The Brood (1979)


The creatures attacking a child in The Brood.

David Cronenberg’s The Brood may not be quite as effective as The Fly, but it’s comprised of similarly horrifying imagery. The plot follows Oliver Reed as a psychotherapist who begins utilizing a technique called psychoplasmics. Unfortunately, its recipients bear the bizarre side effect of spawning murderous child-size monsters.

Several Redditors brought up Cronenberg’s minor classic, like sleepingfrenzy, who just mentioned the title. But then prolelol came in with something they found particularly bizarre and memorable: “That final scene was hella disturbing.” Yet it was a now-deleted user‘s post that sold it, as they put it alongside some of the decade’s best: “Alien, Invasion of the Body SnatchersSuspiriaDawn of the DeadHalloweenThe Exorcist, and The Texas Chain Saw MassacreThe Brood….”

NEXT: The 10 Strangest Horror Movies Of The 1990s, According To Reddit

Aquaman 2 Poster Shows Jason Momoa's Hero With Blonde Hair & New Suit

Aquaman 2 Poster Shows Jason Momoa’s Hero With Blonde Hair & New Suit


About The Author


Ben Hathaway
(221 Articles Published)

Ben Hathaway is a Senior Writer (Lists) for Screen Rant. A former Therapeutic Day Treatment counselor, Ben is now a career writer. When not working, he is writing and self-publishing (on Amazon) novels under the name Scott Gray. In his spare time, he’s reading on the porch or watching every film under the sun. Ben can be contacted at scottgraywrk@gmail.com.

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The 10 Strangest Horror Movies Of The 1970s, According To Reddit

";s:14:"date_timestamp";i:1644362633;}i:2;a:11:{s:5:"title";s:54:"This Netflix Thriller Completely Wastes Its Plot Twist";s:4:"link";s:103:"https://moviestoday.bbc-edition.com/scream-away/this-netflix-thriller-completely-wastes-its-plot-twist/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 22:01:33 +0000";s:8:"category";s:51:"Scream AwaycompletelyNetflixplotThrillerTwistWastes";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16999";s:11:"description";s:634:"A new Netflix horror or thriller movie is always going to get a lot of buzz, and 2018’s The Perfection seemed to have an interesting premise. Charlotte Willmore (Allison Williams) meets Lizzie Wells (Logan Browning), a musical prodigy who seems to be taking Charlotte’s place in the tough and prestigious world of Bachoff Academy run ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11631:"

A new Netflix horror or thriller movie is always going to get a lot of buzz, and 2018’s The Perfection seemed to have an interesting premise. Charlotte Willmore (Allison Williams) meets Lizzie Wells (Logan Browning), a musical prodigy who seems to be taking Charlotte’s place in the tough and prestigious world of Bachoff Academy run by Anton (Steven Weber). The movie seems to be going in one direction that is fairly predictable and then it completely shifts, creating a new storyline that doesn’t feel as satisfying as it’s supposed to.

GAMERANT VIDEO OF THE DAY

Although The Perfection has a wild plot twist that changes the entire course of the story, and it’s best to go into the film without knowing anything about it, it just doesn’t work. There are many other ways that this movie could have told this tale and it would have worked out much better. While the idea of a plot twist is always interesting, The Perfection totally wastes it.

RELATED: Best Scary Movies You Can Stream On Netflix (January 2022)

The Perfection starts off innocently, as Lizzie and Charlotte connect, have a fun night, and seem to bond over music, and it’s clear that Anton is incredibly creepy and that he and Charlotte have a strange relationship. Audiences find out that Charlotte was Anton’s star but she had to drop out of the school so she could help a family member.



Allison Williams holding up a meat cleaver In The Perfection

So why is Charlotte back? Things take a strange turn when Lizzie and Charlotte travel through China on a bus. It seems like Lizzie is horribly sick as she gets nauseous and has trouble figuring out what’s going on. Lizzie thinks that there are bugs coming out of her arm and ends up cutting off her hand. Instead of being scary, this sequence of events is tough to watch as it feels really over-the-top and intense. It feels like if Charlotte was a true villain who wanted to harm Lizzie, this scene would work better.

The big twist that is then revealed to viewers is that Charlotte did this on purpose. She handed Lizzie medication that would cause these visions, and convinced Lizzie to cut off her hand. Why? Because Anton is abusive and Charlotte didn’t want Lizzie to be abused as well. Charlotte has been dealing with the pain of what happened to her for a long time now and it doesn’t seem like she has shared this with anyone.


While horror movie plot twists can be absolutely brilliant, making fans think carefully about the events that they just watched, The Perfection makes a massive mistake with its plot twist because it doesn’t make any sense. Charlotte’s actions are so horrible, harsh, and mean-spirited that it seems illogical. If she wanted to warn Lizzie, why not talk to her about what happened to her when she was younger. Lizzie and Charlotte could continue to make music by forming their own group and sticking together, and it seems odd that Charlotte would act like cutting off Lizzie’s hand and traumatizing her is the only option. While reporting sexual abuse is never simple and there is a lot of corruption that can happen, especially with a wealthy person like Anton, why don’t Charlotte and Lizzie try?


Some horror movies are better the second time as viewers can find something else or see how it all comes together. In the case of The Perfection, the twist falls flat no matter how many times someone watches it. The character of Charlotte also seems to be poorly developed. The image of Charlotte holding up a meat clever is terrifying but that’s about the only scary moment in the movie. The film would be more interesting if the abuse was taken out of it and Charlotte really was jealous of Lizzie and this created a cat and mouse kind of thriller. It does seem like this is what the movie is setting up, but the twist changes the tone. It would still be powerful to see Charlotte and Lizzie working together in another way. Instead, the movie feels uncomfortable and strange.



Allison Williams and Logan Browning walking together in The Perfection

The movie’s ending is meant to show that Charlotte and Lizzie have gotten revenge on Anton as he now has no limbs and his mouth and eyes have been closed, and Charlotte and Lizzie each have only one hand and they play the cello together. The movie’s conclusion is dark, like the original ending for Get Out, another horror film that Williams starred in.

Although viewers do want to see Anton punished, the scene still doesn’t work or feel well-earned thanks to the problematic plot twist. It’s hard to know where Charlotte and Lizzie will go from here, and the movie doesn’t have anything to say about working through trauma besides hurting someone who inflicted the pain and harm.

MORE: 5 Worst Horror Movies Of 2021 (According To Rotten Tomatoes)


The Witcher Netflix Vertical
The Witcher Netflix Series: Everything We Know So Far

The Witcher series is set to make its live-action debut on Netflix in late 2019 and here’s everything we know about the show so far!

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About The Author

Aya Tsintziras
(9 Articles Published)

Aya Tsintziras is a freelance writer who writes about TV, movies, and has a particular interest in the horror genre. She has a Political Science degree from the University of Toronto and a Masters of Journalism from Ryerson University. She loves coffee, reading, working out, and watching TV. She lives in Toronto.

More
From Aya Tsintziras

We wish to thank the author of this write-up for this outstanding content

This Netflix Thriller Completely Wastes Its Plot Twist

";}s:7:"summary";s:634:"A new Netflix horror or thriller movie is always going to get a lot of buzz, and 2018’s The Perfection seemed to have an interesting premise. Charlotte Willmore (Allison Williams) meets Lizzie Wells (Logan Browning), a musical prodigy who seems to be taking Charlotte’s place in the tough and prestigious world of Bachoff Academy run ... Read more";s:12:"atom_content";s:11631:"

A new Netflix horror or thriller movie is always going to get a lot of buzz, and 2018’s The Perfection seemed to have an interesting premise. Charlotte Willmore (Allison Williams) meets Lizzie Wells (Logan Browning), a musical prodigy who seems to be taking Charlotte’s place in the tough and prestigious world of Bachoff Academy run by Anton (Steven Weber). The movie seems to be going in one direction that is fairly predictable and then it completely shifts, creating a new storyline that doesn’t feel as satisfying as it’s supposed to.

GAMERANT VIDEO OF THE DAY

Although The Perfection has a wild plot twist that changes the entire course of the story, and it’s best to go into the film without knowing anything about it, it just doesn’t work. There are many other ways that this movie could have told this tale and it would have worked out much better. While the idea of a plot twist is always interesting, The Perfection totally wastes it.

RELATED: Best Scary Movies You Can Stream On Netflix (January 2022)

The Perfection starts off innocently, as Lizzie and Charlotte connect, have a fun night, and seem to bond over music, and it’s clear that Anton is incredibly creepy and that he and Charlotte have a strange relationship. Audiences find out that Charlotte was Anton’s star but she had to drop out of the school so she could help a family member.



Allison Williams holding up a meat cleaver In The Perfection

So why is Charlotte back? Things take a strange turn when Lizzie and Charlotte travel through China on a bus. It seems like Lizzie is horribly sick as she gets nauseous and has trouble figuring out what’s going on. Lizzie thinks that there are bugs coming out of her arm and ends up cutting off her hand. Instead of being scary, this sequence of events is tough to watch as it feels really over-the-top and intense. It feels like if Charlotte was a true villain who wanted to harm Lizzie, this scene would work better.

The big twist that is then revealed to viewers is that Charlotte did this on purpose. She handed Lizzie medication that would cause these visions, and convinced Lizzie to cut off her hand. Why? Because Anton is abusive and Charlotte didn’t want Lizzie to be abused as well. Charlotte has been dealing with the pain of what happened to her for a long time now and it doesn’t seem like she has shared this with anyone.


While horror movie plot twists can be absolutely brilliant, making fans think carefully about the events that they just watched, The Perfection makes a massive mistake with its plot twist because it doesn’t make any sense. Charlotte’s actions are so horrible, harsh, and mean-spirited that it seems illogical. If she wanted to warn Lizzie, why not talk to her about what happened to her when she was younger. Lizzie and Charlotte could continue to make music by forming their own group and sticking together, and it seems odd that Charlotte would act like cutting off Lizzie’s hand and traumatizing her is the only option. While reporting sexual abuse is never simple and there is a lot of corruption that can happen, especially with a wealthy person like Anton, why don’t Charlotte and Lizzie try?


Some horror movies are better the second time as viewers can find something else or see how it all comes together. In the case of The Perfection, the twist falls flat no matter how many times someone watches it. The character of Charlotte also seems to be poorly developed. The image of Charlotte holding up a meat clever is terrifying but that’s about the only scary moment in the movie. The film would be more interesting if the abuse was taken out of it and Charlotte really was jealous of Lizzie and this created a cat and mouse kind of thriller. It does seem like this is what the movie is setting up, but the twist changes the tone. It would still be powerful to see Charlotte and Lizzie working together in another way. Instead, the movie feels uncomfortable and strange.



Allison Williams and Logan Browning walking together in The Perfection

The movie’s ending is meant to show that Charlotte and Lizzie have gotten revenge on Anton as he now has no limbs and his mouth and eyes have been closed, and Charlotte and Lizzie each have only one hand and they play the cello together. The movie’s conclusion is dark, like the original ending for Get Out, another horror film that Williams starred in.

Although viewers do want to see Anton punished, the scene still doesn’t work or feel well-earned thanks to the problematic plot twist. It’s hard to know where Charlotte and Lizzie will go from here, and the movie doesn’t have anything to say about working through trauma besides hurting someone who inflicted the pain and harm.

MORE: 5 Worst Horror Movies Of 2021 (According To Rotten Tomatoes)


The Witcher Netflix Vertical
The Witcher Netflix Series: Everything We Know So Far

The Witcher series is set to make its live-action debut on Netflix in late 2019 and here’s everything we know about the show so far!

Read Next


About The Author

Aya Tsintziras
(9 Articles Published)

Aya Tsintziras is a freelance writer who writes about TV, movies, and has a particular interest in the horror genre. She has a Political Science degree from the University of Toronto and a Masters of Journalism from Ryerson University. She loves coffee, reading, working out, and watching TV. She lives in Toronto.

More
From Aya Tsintziras

We wish to thank the author of this write-up for this outstanding content

This Netflix Thriller Completely Wastes Its Plot Twist

";s:14:"date_timestamp";i:1644357693;}i:3;a:11:{s:5:"title";s:40:"Turning The Page In Indian Horror Movies";s:4:"link";s:89:"https://moviestoday.bbc-edition.com/scream-away/turning-the-page-in-indian-horror-movies/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 20:33:53 +0000";s:8:"category";s:29:"Scream AwayHorrorIndianMovies";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16953";s:11:"description";s:575:"The lives of a newly married middle-class couple, and a slum dweller who dreams of dignity for his people, come together when the town they live in, is struck by a zombie apocalypse! That’s the premise of Aditya Satpotdar’s recently released film ‘Zombivli’. “The idea for the film really came the minute we were under ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10045:"

The lives of a newly married middle-class couple, and a slum dweller who dreams of dignity for his people, come together when the town they live in, is struck by a zombie apocalypse! That’s the premise of Aditya Satpotdar’s recently released film ‘Zombivli’.

“The idea for the film really came the minute we were under the first lockdown. It hit me then only, that this is perfect scenario, because, mentally and emotionally, it felt like we were in a zombie apocalypse, caught up inside house and this virus taking over everything I ever wanted to do. IT wasn’t just me but, all of us who attempted the film, identified with that scenario,” says Aditya Sarpotdar.

Despite its apocalyptic themes, which make any film or series in this genre feel global, India has had seldom projects under this genre. Luke Kenny and Devika Singh’s ‘Rise of the Zombie’, Saif Ali Khan, Vir Das and Kunal Kemmu’s ‘Go Goa Gone’, Sajja Teja and Anandhi’s ‘Zombie Reddy’ and Netflix’s ‘Betaal’ and the third episode of the movie anthology ‘Ghost Stories’ are the only examples of projects based around zombies, that have done well, before the release of Saptodar’s ‘Zombivli’.

“Stories can’t be just about zombies. There has to be a local narrative. You connect with. Dombivlli, as a space, because it has a lot of interesting facets, like the civic crisis, the water crisis, it’s a highly densely populated area where a people of mixed group live. Now that, serves as the perfect backdrop for zombie attack scenario.,” he adds.

The film has been receiving rave reviews for neatly presenting a critique of the class divide, the rather clueless urban development projects and the prejudices of the rich against the slum dwellers, while vividly painting a picture of carnage that unfolds when a zombie outbreak begins in a hospital and reaches a slum, and the gated colony next to it.

“In such a cataclysmic event, one taps into human emotions, because at the end of the day it is all about human survival. People come from different backgrounds, different cultural and class structures, to unite to survive through an apocalypse,” he says.

‘Zombivli’ is one of the many recent examples, that however point towards a turning tide in the evolution of horror titles. Makers are focussing on presenting supernatural stories, myths legends and lore from within the country, by using universal tropes, such as jump scares, to create titles in this genre.

The 2017 Tamil-language film ‘Aval’ directed by Milind Rau, is a scary story of two families haunted by ghosts, set in Himachal Pradesh, was lauded by critics from across the country not only for the usual tropes associated with a horror film like shock, horror, fear and even borderline nauseousness, but also for not exploiting religious beliefs, use sub-standard special effects or melodrama, which is often the criticism for any horror film in India.

“People used to say that Alfred Hitchcock used to wait outside the theatres, to see how people would react to jump scares, or those terrifying moments in his film. I think there is something really gratifying to see people react to that moment, that you have built up, it is not an easy genre to attempt. There is a lot of detailing that goes into making a good horror film or a show. One slight second of wrong edit, and you lose that moment and the entire thrill of it,” he says.

‘Aval’ is not just a conventional horror film with a humans-vs-devil storyline, but in fact has a good- spirits-vs-bad-spirits vibe, which results in the two families getting caught in this supernatural tug of war, after the daughter of one of the couples who had just moved into the new (haunted) house, invites unwanted elements inside.

“There’s a 15-minute-long scene in black and white, which is in Chinese language that explains the backstory of the ghosts. Everyone has told me that is the soul of the film. No one, in a mainstream horror film would even think about doing such a thing. But it was important to the story, and that’s why it was done,” says Rau.

“‘Aval was made in Hindi and Tamil, and later dubbed in Telugu as well. Yes, it wasn’t promoted well in the hindi-speaking belt, but when I went to Mumbai, I saw how people were excited for it. Even the Telugu version, it took a life of its own and went house-full for days,” he adds.

The dependence on stories from the country, without looking at adapting films from successful movies industries like the Japanese, Korean or Hollywood, has also pushed makers, to get the right cast.

“Every place generally has its own legends, own local horror stories, local hunted place, local haunted house, even ‘Stree’ was based on a Bengaluru local legend – ‘Nale Ba’, which means Oh Woman Come tomorrow’. So, stories of horror have been a part of our culture. Hinterland as it is not urbanised form an interesting set up for a horror film, which in turn gives it a local flavour, means something new and something fresh for people to watch in the cities and something local for people from the hinterland, which means more audience acceptance,” say Shiv Chauhan and Ashish Khare, who served as casting directors for the 2018 horror-comedy film ‘Stree’.

The film is one of the first horror comedies to cross the 100-crore mark, and boasted of a stellar star cast including Shraddha Kapoor Rajkummar Rao, Pankaj Tripathi and Abhishek Banerjee.

“Horror films also revolve around normal people like any other film. Our basic process is the same, read the script, have discussions with director to know his/her vision about the film and different characters. But yes, there are finer details like, there is a possibility that an actor can go overboard during his/her portrayal of emotions in a haunted scene. There is a fine line of drama and realism, and an actor should keep in mind while auditioning and we keep that in check. We look for this balance in portrayal of emotions,” they explain.

While there’s a lot to be done in terms of exploring further genres of horror, just like the Japanese/Korean and other international film industries have done, it is certain that the breed of new filmmakers, have turned the page in the story of Indian horror titles, and the general perception around them.

“Unfortunately, when it comes to India, they have always made horror in a certain set Bollywood template. But now, with the exposure of the audience to the global content, the situation is changing. Once proven, then opportunities are opening up for different styles of narratives slowly and surely,” says Vishal Furia, who directed the Hindi-language horror film ‘Chhori’ starring Nusshrat Bharrucha, and the filmmaker quickly announced its sequel after the success of the first film.

For Furia, and the rest of his peers in the industry, who are ardent followers of horror, understand the hunger for more desi horror stories.

“Worldwide, Horror has evolved into newer subgenres. It is being used to tell psychological horror stories, stories about social evils and dystopian horror stories. The Indian audience is also watching this worldwide content. And now, the audience is ready and hungry for pure Indian horror. Thankfully, films like Lapachhapi, Tumbbad, Chhorii are now accessible to the audiences due to the OTT platforms,” he says.

“So horror genre filmmaking will now be a challenge for Indian filmmakers. The audiences won’t blindly accept Bollywood tropes and sleaze in horror anymore. India has a vast diversity of states, languages and cultures and each one having their own stories and folklore of good and evil, of spirits and urban legends. With such a massive library available, there is no need to focus on the West,” he adds.

We would love to say thanks to the writer of this post for this amazing material

Turning The Page In Indian Horror Movies

";}s:7:"summary";s:575:"The lives of a newly married middle-class couple, and a slum dweller who dreams of dignity for his people, come together when the town they live in, is struck by a zombie apocalypse! That’s the premise of Aditya Satpotdar’s recently released film ‘Zombivli’. “The idea for the film really came the minute we were under ... Read more";s:12:"atom_content";s:10045:"

The lives of a newly married middle-class couple, and a slum dweller who dreams of dignity for his people, come together when the town they live in, is struck by a zombie apocalypse! That’s the premise of Aditya Satpotdar’s recently released film ‘Zombivli’.

“The idea for the film really came the minute we were under the first lockdown. It hit me then only, that this is perfect scenario, because, mentally and emotionally, it felt like we were in a zombie apocalypse, caught up inside house and this virus taking over everything I ever wanted to do. IT wasn’t just me but, all of us who attempted the film, identified with that scenario,” says Aditya Sarpotdar.

Despite its apocalyptic themes, which make any film or series in this genre feel global, India has had seldom projects under this genre. Luke Kenny and Devika Singh’s ‘Rise of the Zombie’, Saif Ali Khan, Vir Das and Kunal Kemmu’s ‘Go Goa Gone’, Sajja Teja and Anandhi’s ‘Zombie Reddy’ and Netflix’s ‘Betaal’ and the third episode of the movie anthology ‘Ghost Stories’ are the only examples of projects based around zombies, that have done well, before the release of Saptodar’s ‘Zombivli’.

“Stories can’t be just about zombies. There has to be a local narrative. You connect with. Dombivlli, as a space, because it has a lot of interesting facets, like the civic crisis, the water crisis, it’s a highly densely populated area where a people of mixed group live. Now that, serves as the perfect backdrop for zombie attack scenario.,” he adds.

The film has been receiving rave reviews for neatly presenting a critique of the class divide, the rather clueless urban development projects and the prejudices of the rich against the slum dwellers, while vividly painting a picture of carnage that unfolds when a zombie outbreak begins in a hospital and reaches a slum, and the gated colony next to it.

“In such a cataclysmic event, one taps into human emotions, because at the end of the day it is all about human survival. People come from different backgrounds, different cultural and class structures, to unite to survive through an apocalypse,” he says.

‘Zombivli’ is one of the many recent examples, that however point towards a turning tide in the evolution of horror titles. Makers are focussing on presenting supernatural stories, myths legends and lore from within the country, by using universal tropes, such as jump scares, to create titles in this genre.

The 2017 Tamil-language film ‘Aval’ directed by Milind Rau, is a scary story of two families haunted by ghosts, set in Himachal Pradesh, was lauded by critics from across the country not only for the usual tropes associated with a horror film like shock, horror, fear and even borderline nauseousness, but also for not exploiting religious beliefs, use sub-standard special effects or melodrama, which is often the criticism for any horror film in India.

“People used to say that Alfred Hitchcock used to wait outside the theatres, to see how people would react to jump scares, or those terrifying moments in his film. I think there is something really gratifying to see people react to that moment, that you have built up, it is not an easy genre to attempt. There is a lot of detailing that goes into making a good horror film or a show. One slight second of wrong edit, and you lose that moment and the entire thrill of it,” he says.

‘Aval’ is not just a conventional horror film with a humans-vs-devil storyline, but in fact has a good- spirits-vs-bad-spirits vibe, which results in the two families getting caught in this supernatural tug of war, after the daughter of one of the couples who had just moved into the new (haunted) house, invites unwanted elements inside.

“There’s a 15-minute-long scene in black and white, which is in Chinese language that explains the backstory of the ghosts. Everyone has told me that is the soul of the film. No one, in a mainstream horror film would even think about doing such a thing. But it was important to the story, and that’s why it was done,” says Rau.

“‘Aval was made in Hindi and Tamil, and later dubbed in Telugu as well. Yes, it wasn’t promoted well in the hindi-speaking belt, but when I went to Mumbai, I saw how people were excited for it. Even the Telugu version, it took a life of its own and went house-full for days,” he adds.

The dependence on stories from the country, without looking at adapting films from successful movies industries like the Japanese, Korean or Hollywood, has also pushed makers, to get the right cast.

“Every place generally has its own legends, own local horror stories, local hunted place, local haunted house, even ‘Stree’ was based on a Bengaluru local legend – ‘Nale Ba’, which means Oh Woman Come tomorrow’. So, stories of horror have been a part of our culture. Hinterland as it is not urbanised form an interesting set up for a horror film, which in turn gives it a local flavour, means something new and something fresh for people to watch in the cities and something local for people from the hinterland, which means more audience acceptance,” say Shiv Chauhan and Ashish Khare, who served as casting directors for the 2018 horror-comedy film ‘Stree’.

The film is one of the first horror comedies to cross the 100-crore mark, and boasted of a stellar star cast including Shraddha Kapoor Rajkummar Rao, Pankaj Tripathi and Abhishek Banerjee.

“Horror films also revolve around normal people like any other film. Our basic process is the same, read the script, have discussions with director to know his/her vision about the film and different characters. But yes, there are finer details like, there is a possibility that an actor can go overboard during his/her portrayal of emotions in a haunted scene. There is a fine line of drama and realism, and an actor should keep in mind while auditioning and we keep that in check. We look for this balance in portrayal of emotions,” they explain.

While there’s a lot to be done in terms of exploring further genres of horror, just like the Japanese/Korean and other international film industries have done, it is certain that the breed of new filmmakers, have turned the page in the story of Indian horror titles, and the general perception around them.

“Unfortunately, when it comes to India, they have always made horror in a certain set Bollywood template. But now, with the exposure of the audience to the global content, the situation is changing. Once proven, then opportunities are opening up for different styles of narratives slowly and surely,” says Vishal Furia, who directed the Hindi-language horror film ‘Chhori’ starring Nusshrat Bharrucha, and the filmmaker quickly announced its sequel after the success of the first film.

For Furia, and the rest of his peers in the industry, who are ardent followers of horror, understand the hunger for more desi horror stories.

“Worldwide, Horror has evolved into newer subgenres. It is being used to tell psychological horror stories, stories about social evils and dystopian horror stories. The Indian audience is also watching this worldwide content. And now, the audience is ready and hungry for pure Indian horror. Thankfully, films like Lapachhapi, Tumbbad, Chhorii are now accessible to the audiences due to the OTT platforms,” he says.

“So horror genre filmmaking will now be a challenge for Indian filmmakers. The audiences won’t blindly accept Bollywood tropes and sleaze in horror anymore. India has a vast diversity of states, languages and cultures and each one having their own stories and folklore of good and evil, of spirits and urban legends. With such a massive library available, there is no need to focus on the West,” he adds.

We would love to say thanks to the writer of this post for this amazing material

Turning The Page In Indian Horror Movies

";s:14:"date_timestamp";i:1644352433;}i:4;a:11:{s:5:"title";s:85:"The Awesome Action-Horror Appeal of Paul W.S. Anderson’s ‘Resident Evil’ Movies";s:4:"link";s:124:"https://moviestoday.bbc-edition.com/scream-away/the-awesome-action-horror-appeal-of-paul-w-s-andersons-resident-evil-movies/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 18:37:35 +0000";s:8:"category";s:67:"Scream AwayActionHorrorAndersonsappealAwesomeEvilMoviesPaulResident";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16870";s:11:"description";s:662:"It was the year 2021, and as a fan of the Resident Evil franchise, I was struck in awe upon watching the trailer for Resident Evil: Welcome to Raccoon City. I leaped into the living room, shouting at my spouse and cat, “Look at this marvel of cinema!” I took to the streets, dancing and ... Read more";s:7:"content";a:1:{s:7:"encoded";s:14432:"

It was the year 2021, and as a fan of the Resident Evil franchise, I was struck in awe upon watching the trailer for Resident Evil: Welcome to Raccoon City. I leaped into the living room, shouting at my spouse and cat, “Look at this marvel of cinema!” I took to the streets, dancing and expressing my joy for what was surely going to be a fun adaptation of one of my most beloved video game properties. And then I watched the movie.

Written and directed by Johannes Roberts, the first 30-ish minutes of Welcome to Raccoon City sold me. I’m not going to get into anything super spoiler heavy, but the film weaves together narrative elements from both the first and second Resident Evil games. Tonally, the setup feels very much like George A. Romero’s The Crazies – which I was totally in for and found to be a great approach.

What I felt hurt the film was everything that played out after that setup. Once the ball gets rolling on the action, the film displays issues in pacing and focus; combining familiar story beats of the first two games is a cool idea, but the film loses track in providing an entertaining, fleshed out narrative. By the time the credits rolled I was bummed out; what started as an intriguing survival horror adaptation ended up being a mix bag of somewhat thrilling suspense. That said, if there was one great personal positive I got in watching Welcome to Raccoon City, it was the reminder of how much I love the Paul W.S. Anderson Resident Evil movies starring Milla Jovovich.

Frankly, while Resident Evil 4 was the first title I ever played and it forever sold me on the games – it was that of Anderson’s 2002 Resident Evil movie that first captured my attention. To be clear, I had always had an appreciation for Resident Evil; ever since I was a little kid, I wanted to get my hands on the games (I just never had the means to purchase any of them). But renting a movie was something I could do, and when I got a hold of that 2002 flick, I was thrilled with what I saw.

It has been almost 20 years since the first film’s release and the fondness I’ve developed for these movies remains strong. Are most of them a mess? Absolutely. But I feel like their brand of messiness is in line with the games themselves; the chaotic, sci-fi absurdity of the movies reflects the over-the-top action-horror of the Resident Evil games.

While I tend to associate the initial run of Resident Evil movies with Anderson, it’s important I note that he did not direct the second and third films of this initial film series (he did write the screenplays for both though). That said, he did write and direct every other entry. While Resident Evil: Apocalypse is my favorite of them all (I can hear one particular member of the Bloody Disgusting team going, “Are you kidding me?!” right now) – Anderson’s approach to filmmaking is an essential component as to why I love these movies.

A criticism I could understand other viewers having regarding these films is the level of cheese found throughout them – but hasn’t Resident Evil always had that edge to it? Granted, there’s a good deal of heavy subject matter to be found, but there is also a level of goofiness. Hell, a lot of the plots are that of off-the-wall sci-fi adventure thrills. What aids in making Resident Evil games scary is how the gameplay immerses players in suspenseful situations against horrific monsters. With that in mind, I don’t think Anderson created great works of horror, but good action-horror flicks.

Milla Jovovich stars in Screen Gems' RESIDENT EVIL: THE FINAL CHAPTER.

Personally, Anderson is the only name that comes to mind immediately when I think about video game adaptations in movies. If you’ve read some of my past work, then you know I am a hardcore fan of video game adaptions; even the most awful of adaptations bring me a lot of happiness given my love for the medium of games and the stories I have come to enjoy. In my opinion, Anderson truly knows how to adapt these works. Arguing the cinematic quality of his films is a whole other conversation, but when it comes to faithful interpretation and expansion of the source material, Anderson delivers. Specifically, I look to 1995’s Mortal Kombat for example (which I’ve written about before). Anderson presents audiences with a very goofy take on the acclaimed fighting game – but I ask, what is missing from this film? You got the fan service. Check. You have decent enough fighting that most people can get behind for a good chuckle or rush. Check. And, you have a serviceable enough story to help push the plot towards the next fight scene.

The struggle with many game adaptations is the focus on gimmicks; the over emphasis of video game Easter eggs tends to overshadow that of the characters and story, making for shallow viewing experiences. What Anderson does though is provide those eggs, while also understanding how action films should play out. Hell, I wasn’t too crazy for his take on Monster Hunter – but I still had a good time with it as a fun action movie.

Anderson’s Resident Evil movies follow this as well, and I argue that they are faithful adaptations and interpretations of the games – in the sense of how they expand upon the material. He may be taking bits and pieces of narrative found within the games, but Anderson is telling his own original story – his own Resident Evil fanfic. You’re going to find Tyrant, Jill Valentine, Nemesis, Chris Redfield, and a plethora of other awesome characters from the games, but they are not always going to mirror what it is you experienced in those games.

Resident evil retribution alice milla jovovich

I have always felt that Anderson’s Resident Evil movies are fine companion pieces within the franchise; that if you can accept the lack of survival horror tension and get along with wild action and cool looking monsters, you’re going to find enough of an experience to cater towards your Resident Evil itch. There may be some cheese to the performances, but these movies deliver kick ass thrills and bad ass monsters. There are enough Easter eggs within these movies that take care of my Resident Evil needs; I know I’m not getting something that 100% reflects the stories of the games I adore, but I know I am experiencing movies that care about their source material and want to pay homage to it.

I really, really wanted to love Welcome to Raccoon City. What bothers me the most about it is that I saw such a huge potential in its setup that leaned into a tone Anderson did not cater too in his movies. I was ready for a more survival horror-like experience on screen, but alas, I didn’t find myself invested after the action and narrative began clashing together. I’m still glad I got to see it though and I applaud Roberts on his work, it’s just that – when it comes to the Resident Evil movies I love to see – I’ll always go for Anderson’s take on action-horror.

Do you enjoy Paul W.S. Anderson’s Resident Evil movies? Were you a fan of Resident Evil: Welcome to Raccoon City? The new movie is now available on 4K, Blu-ray, and Digital.

resident evil movies nemesis

We want to give thanks to the writer of this post for this incredible web content

The Awesome Action-Horror Appeal of Paul W.S. Anderson’s ‘Resident Evil’ Movies

";}s:7:"summary";s:662:"It was the year 2021, and as a fan of the Resident Evil franchise, I was struck in awe upon watching the trailer for Resident Evil: Welcome to Raccoon City. I leaped into the living room, shouting at my spouse and cat, “Look at this marvel of cinema!” I took to the streets, dancing and ... Read more";s:12:"atom_content";s:14432:"

It was the year 2021, and as a fan of the Resident Evil franchise, I was struck in awe upon watching the trailer for Resident Evil: Welcome to Raccoon City. I leaped into the living room, shouting at my spouse and cat, “Look at this marvel of cinema!” I took to the streets, dancing and expressing my joy for what was surely going to be a fun adaptation of one of my most beloved video game properties. And then I watched the movie.

Written and directed by Johannes Roberts, the first 30-ish minutes of Welcome to Raccoon City sold me. I’m not going to get into anything super spoiler heavy, but the film weaves together narrative elements from both the first and second Resident Evil games. Tonally, the setup feels very much like George A. Romero’s The Crazies – which I was totally in for and found to be a great approach.

What I felt hurt the film was everything that played out after that setup. Once the ball gets rolling on the action, the film displays issues in pacing and focus; combining familiar story beats of the first two games is a cool idea, but the film loses track in providing an entertaining, fleshed out narrative. By the time the credits rolled I was bummed out; what started as an intriguing survival horror adaptation ended up being a mix bag of somewhat thrilling suspense. That said, if there was one great personal positive I got in watching Welcome to Raccoon City, it was the reminder of how much I love the Paul W.S. Anderson Resident Evil movies starring Milla Jovovich.

Frankly, while Resident Evil 4 was the first title I ever played and it forever sold me on the games – it was that of Anderson’s 2002 Resident Evil movie that first captured my attention. To be clear, I had always had an appreciation for Resident Evil; ever since I was a little kid, I wanted to get my hands on the games (I just never had the means to purchase any of them). But renting a movie was something I could do, and when I got a hold of that 2002 flick, I was thrilled with what I saw.

It has been almost 20 years since the first film’s release and the fondness I’ve developed for these movies remains strong. Are most of them a mess? Absolutely. But I feel like their brand of messiness is in line with the games themselves; the chaotic, sci-fi absurdity of the movies reflects the over-the-top action-horror of the Resident Evil games.

While I tend to associate the initial run of Resident Evil movies with Anderson, it’s important I note that he did not direct the second and third films of this initial film series (he did write the screenplays for both though). That said, he did write and direct every other entry. While Resident Evil: Apocalypse is my favorite of them all (I can hear one particular member of the Bloody Disgusting team going, “Are you kidding me?!” right now) – Anderson’s approach to filmmaking is an essential component as to why I love these movies.

A criticism I could understand other viewers having regarding these films is the level of cheese found throughout them – but hasn’t Resident Evil always had that edge to it? Granted, there’s a good deal of heavy subject matter to be found, but there is also a level of goofiness. Hell, a lot of the plots are that of off-the-wall sci-fi adventure thrills. What aids in making Resident Evil games scary is how the gameplay immerses players in suspenseful situations against horrific monsters. With that in mind, I don’t think Anderson created great works of horror, but good action-horror flicks.

Milla Jovovich stars in Screen Gems' RESIDENT EVIL: THE FINAL CHAPTER.

Personally, Anderson is the only name that comes to mind immediately when I think about video game adaptations in movies. If you’ve read some of my past work, then you know I am a hardcore fan of video game adaptions; even the most awful of adaptations bring me a lot of happiness given my love for the medium of games and the stories I have come to enjoy. In my opinion, Anderson truly knows how to adapt these works. Arguing the cinematic quality of his films is a whole other conversation, but when it comes to faithful interpretation and expansion of the source material, Anderson delivers. Specifically, I look to 1995’s Mortal Kombat for example (which I’ve written about before). Anderson presents audiences with a very goofy take on the acclaimed fighting game – but I ask, what is missing from this film? You got the fan service. Check. You have decent enough fighting that most people can get behind for a good chuckle or rush. Check. And, you have a serviceable enough story to help push the plot towards the next fight scene.

The struggle with many game adaptations is the focus on gimmicks; the over emphasis of video game Easter eggs tends to overshadow that of the characters and story, making for shallow viewing experiences. What Anderson does though is provide those eggs, while also understanding how action films should play out. Hell, I wasn’t too crazy for his take on Monster Hunter – but I still had a good time with it as a fun action movie.

Anderson’s Resident Evil movies follow this as well, and I argue that they are faithful adaptations and interpretations of the games – in the sense of how they expand upon the material. He may be taking bits and pieces of narrative found within the games, but Anderson is telling his own original story – his own Resident Evil fanfic. You’re going to find Tyrant, Jill Valentine, Nemesis, Chris Redfield, and a plethora of other awesome characters from the games, but they are not always going to mirror what it is you experienced in those games.

Resident evil retribution alice milla jovovich

I have always felt that Anderson’s Resident Evil movies are fine companion pieces within the franchise; that if you can accept the lack of survival horror tension and get along with wild action and cool looking monsters, you’re going to find enough of an experience to cater towards your Resident Evil itch. There may be some cheese to the performances, but these movies deliver kick ass thrills and bad ass monsters. There are enough Easter eggs within these movies that take care of my Resident Evil needs; I know I’m not getting something that 100% reflects the stories of the games I adore, but I know I am experiencing movies that care about their source material and want to pay homage to it.

I really, really wanted to love Welcome to Raccoon City. What bothers me the most about it is that I saw such a huge potential in its setup that leaned into a tone Anderson did not cater too in his movies. I was ready for a more survival horror-like experience on screen, but alas, I didn’t find myself invested after the action and narrative began clashing together. I’m still glad I got to see it though and I applaud Roberts on his work, it’s just that – when it comes to the Resident Evil movies I love to see – I’ll always go for Anderson’s take on action-horror.

Do you enjoy Paul W.S. Anderson’s Resident Evil movies? Were you a fan of Resident Evil: Welcome to Raccoon City? The new movie is now available on 4K, Blu-ray, and Digital.

resident evil movies nemesis

We want to give thanks to the writer of this post for this incredible web content

The Awesome Action-Horror Appeal of Paul W.S. Anderson’s ‘Resident Evil’ Movies

";s:14:"date_timestamp";i:1644345455;}i:5;a:11:{s:5:"title";s:103:"Oscars: Guillermo del Toro’s ‘Nightmare Alley’ Receives Four Nominations; ‘Dune’ Collects Ten";s:4:"link";s:135:"https://moviestoday.bbc-edition.com/scream-away/oscars-guillermo-del-toros-nightmare-alley-receives-four-nominations-dune-collects-ten/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 17:13:26 +0000";s:8:"category";s:79:"Scream AwayAlleyCollectsDelDuneGuillermonightmareNominationsOscarsReceivesToros";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16818";s:11:"description";s:753:"Horror director Guillermo del Toro is back in Oscar contention with his dramatic thriller Nightmare Alley, which was nominated for a quartet of awards all announced this morning by the Academy of Motion Picture Arts and Sciences via global live stream. Del Toro, who won the Oscar for “Best Achievement in Directing” with his 2018 ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7897:"

Horror director Guillermo del Toro is back in Oscar contention with his dramatic thriller Nightmare Alley, which was nominated for a quartet of awards all announced this morning by the Academy of Motion Picture Arts and Sciences via global live stream.

Del Toro, who won the Oscar for “Best Achievement in Directing” with his 2018 The Shape of Water, wasn’t nominated for Nightmare Alley, but the film did score noms for “Best Picture”, “Cinematography”, “Production Design”, and “Costume Design”. It’s also noteworthy that Nightmare Alley received four nominations and yet Cate Blanchett‘s sublime performance was completely ignored. We consider that to be one of this year’s biggest snubs.

“We want to thank the Academy for this tremendous recognition of so many artists’ hard work,” producers Guillermo del Toro, J Miles Dale and Bradley Cooper all said in a statement provided to Bloody Disgusting. “To see Nightmare Alley nominated for ‘Best Picture’ alongside so many terrific, artistic, unforgettable films is a testament to the entire cast and crew on the production.

“It took nearly four years to bring this project together, and to see the commitment, creativity and determination of the artisans come to life with nominations for Tamara and Shane for their immersive and inventive production design, Luis for his spectacular and sumptuous costume design, and Dan for his incomparable cinematography, is truly gratifying. We thank Searchlight for never giving up on this film and want to express our appreciation to the wonderful cast for making Nightmare a dream come true.”

As for other genre adjacent titles, Denis Villeneuve‘s fresh take on Dune dominated, collecting a whopping ten nominations.

You’ll find a full breakdown of all nominations below and can watch the ceremony live on ABC on March 27.


Best Picture

Belfast
CODA
Don’t Look Up
Drive My Car
Dune
King Richard
Licorice Pizza
Nightmare Alley
The Power of the Dog
West Side Story

Actor in a Leading Role

Javier Bardem
Being the Ricardos

Benedict Cumberbatch
The Power of the Dog

Andrew Garfield
tick, tick…Boom!

Will Smith
King Richard

Denzel Washington
The Tragedy of Macbeth

Actress in a Leading Role

Jessica Chastain
The Eyes of Tammy Faye

Olivia Colman
The Lost Daughter

Penélope Cruz
Parallel Mothers

Nicole Kidman
Being the Ricardos

Kristen Stewart
Spencer

Actor in a Supporting Role

Ciarán Hinds
Belfast

Troy Kotsur
CODA

Jesse Plemons
The Power of the Dog

J.K. Simmons
Being the Ricardos

Kodi Smit-McPhee
The Power of the Dog

Actress in a Supporting Role

Jessie Buckley
The Lost Daughter

Ariana DeBose
West Side Story

Judi Dench
Belfast

Kirsten Dunst
The Power of the Dog

Aunjanue Ellis
King Richard

Directing

Kenneth Branagh
Ryusuke Hamaguchi
Paul Thomas Anderson
Jane Campion
Steven Spielberg

Writing (Adapted Screenplay)

CODA
Drive My Car
Dune
The Lost Daughter
The Power of the Dog

Writing (Original Screenplay)

Belfast
Don’t Look Up
King Richard
Licorice Pizza
The Worst Person in the World

Documentary Feature

Ascension
Attica
Flee
Summer of Soul
Writing With Fire

Animated Feature Film

Encanto
Jared Bush, Byron Howard, Yvett Merino and Clark Spencer

Flee
Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie

Luca
Enrico Casarosa and Andrea Warren

The Mitchells vs. the Machines
Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht

Raya and the Last Dragon
Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho

International Feature Film

Drive My Car (Japan)
Flee (Denmark)
The Hand of God (Italy)
Yanna (Buhtan)
The Worst Person in the World (Norway)

Cinematography

Dune
Nightmare Alley
The Power of The Dog
The Tragedy
West Side Story

Film Editing

Don’t Look Up
Dune
King Richard
The Power of the Dog
Tick, Tick…Boom!

Live Action Short Film

Ala Kacchu – Take and Run
The Dress
The Long Goodbye
On My Mind
Please Hold

Animated Short Film

Affairs of the Art
Bestia
Boxballet
Robin Robin
The Windshield Wiper

Documentary Short Subject

Audible
Lead Me Home
The Queen of Basketball
Three Songs of Benazir
When We Were Bullies

Music (Original Score)

Don’t Look Up
Dune
Encanto
Parallel Mothers
The Power of the Dog

Music (Original Song)

Be Alive
Dos Oroguitos
Down to Joy
No Time To Die
Somehow to Do

Production Design

Dune
Nightmare Alley
Power
The Tragedy of Macbeth
West Side Story

Costume Design

Cruella
Cyrano
Dune
Nightmare Alley
West Side Story

Makeup and Hairstyling

Coming 2 America
Cruella
Dune
The Eyes of Tammy Faye
House of Gucci

Sound

Belfast
Dune
No Time To Die
The Power of the Dog
West Side Story

Visual Effects

Dune
Free Guy
No Time To Die
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

We want to thank the author of this short article for this remarkable web content

Oscars: Guillermo del Toro’s ‘Nightmare Alley’ Receives Four Nominations; ‘Dune’ Collects Ten

";}s:7:"summary";s:753:"Horror director Guillermo del Toro is back in Oscar contention with his dramatic thriller Nightmare Alley, which was nominated for a quartet of awards all announced this morning by the Academy of Motion Picture Arts and Sciences via global live stream. Del Toro, who won the Oscar for “Best Achievement in Directing” with his 2018 ... Read more";s:12:"atom_content";s:7897:"

Horror director Guillermo del Toro is back in Oscar contention with his dramatic thriller Nightmare Alley, which was nominated for a quartet of awards all announced this morning by the Academy of Motion Picture Arts and Sciences via global live stream.

Del Toro, who won the Oscar for “Best Achievement in Directing” with his 2018 The Shape of Water, wasn’t nominated for Nightmare Alley, but the film did score noms for “Best Picture”, “Cinematography”, “Production Design”, and “Costume Design”. It’s also noteworthy that Nightmare Alley received four nominations and yet Cate Blanchett‘s sublime performance was completely ignored. We consider that to be one of this year’s biggest snubs.

“We want to thank the Academy for this tremendous recognition of so many artists’ hard work,” producers Guillermo del Toro, J Miles Dale and Bradley Cooper all said in a statement provided to Bloody Disgusting. “To see Nightmare Alley nominated for ‘Best Picture’ alongside so many terrific, artistic, unforgettable films is a testament to the entire cast and crew on the production.

“It took nearly four years to bring this project together, and to see the commitment, creativity and determination of the artisans come to life with nominations for Tamara and Shane for their immersive and inventive production design, Luis for his spectacular and sumptuous costume design, and Dan for his incomparable cinematography, is truly gratifying. We thank Searchlight for never giving up on this film and want to express our appreciation to the wonderful cast for making Nightmare a dream come true.”

As for other genre adjacent titles, Denis Villeneuve‘s fresh take on Dune dominated, collecting a whopping ten nominations.

You’ll find a full breakdown of all nominations below and can watch the ceremony live on ABC on March 27.


Best Picture

Belfast
CODA
Don’t Look Up
Drive My Car
Dune
King Richard
Licorice Pizza
Nightmare Alley
The Power of the Dog
West Side Story

Actor in a Leading Role

Javier Bardem
Being the Ricardos

Benedict Cumberbatch
The Power of the Dog

Andrew Garfield
tick, tick…Boom!

Will Smith
King Richard

Denzel Washington
The Tragedy of Macbeth

Actress in a Leading Role

Jessica Chastain
The Eyes of Tammy Faye

Olivia Colman
The Lost Daughter

Penélope Cruz
Parallel Mothers

Nicole Kidman
Being the Ricardos

Kristen Stewart
Spencer

Actor in a Supporting Role

Ciarán Hinds
Belfast

Troy Kotsur
CODA

Jesse Plemons
The Power of the Dog

J.K. Simmons
Being the Ricardos

Kodi Smit-McPhee
The Power of the Dog

Actress in a Supporting Role

Jessie Buckley
The Lost Daughter

Ariana DeBose
West Side Story

Judi Dench
Belfast

Kirsten Dunst
The Power of the Dog

Aunjanue Ellis
King Richard

Directing

Kenneth Branagh
Ryusuke Hamaguchi
Paul Thomas Anderson
Jane Campion
Steven Spielberg

Writing (Adapted Screenplay)

CODA
Drive My Car
Dune
The Lost Daughter
The Power of the Dog

Writing (Original Screenplay)

Belfast
Don’t Look Up
King Richard
Licorice Pizza
The Worst Person in the World

Documentary Feature

Ascension
Attica
Flee
Summer of Soul
Writing With Fire

Animated Feature Film

Encanto
Jared Bush, Byron Howard, Yvett Merino and Clark Spencer

Flee
Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte De La Gournerie

Luca
Enrico Casarosa and Andrea Warren

The Mitchells vs. the Machines
Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht

Raya and the Last Dragon
Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho

International Feature Film

Drive My Car (Japan)
Flee (Denmark)
The Hand of God (Italy)
Yanna (Buhtan)
The Worst Person in the World (Norway)

Cinematography

Dune
Nightmare Alley
The Power of The Dog
The Tragedy
West Side Story

Film Editing

Don’t Look Up
Dune
King Richard
The Power of the Dog
Tick, Tick…Boom!

Live Action Short Film

Ala Kacchu – Take and Run
The Dress
The Long Goodbye
On My Mind
Please Hold

Animated Short Film

Affairs of the Art
Bestia
Boxballet
Robin Robin
The Windshield Wiper

Documentary Short Subject

Audible
Lead Me Home
The Queen of Basketball
Three Songs of Benazir
When We Were Bullies

Music (Original Score)

Don’t Look Up
Dune
Encanto
Parallel Mothers
The Power of the Dog

Music (Original Song)

Be Alive
Dos Oroguitos
Down to Joy
No Time To Die
Somehow to Do

Production Design

Dune
Nightmare Alley
Power
The Tragedy of Macbeth
West Side Story

Costume Design

Cruella
Cyrano
Dune
Nightmare Alley
West Side Story

Makeup and Hairstyling

Coming 2 America
Cruella
Dune
The Eyes of Tammy Faye
House of Gucci

Sound

Belfast
Dune
No Time To Die
The Power of the Dog
West Side Story

Visual Effects

Dune
Free Guy
No Time To Die
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

We want to thank the author of this short article for this remarkable web content

Oscars: Guillermo del Toro’s ‘Nightmare Alley’ Receives Four Nominations; ‘Dune’ Collects Ten

";s:14:"date_timestamp";i:1644340406;}i:6;a:11:{s:5:"title";s:78:"Interview With Thomas Hobson, Star Of ‘Ghosts Of The Ozarks’ – PopHorror";s:4:"link";s:116:"https://moviestoday.bbc-edition.com/scream-away/interview-with-thomas-hobson-star-of-ghosts-of-the-ozarks-pophorror/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 15:47:52 +0000";s:8:"category";s:57:"Scream AwayGhostsHobsonInterviewOzarksPopHorrorStarThomas";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16730";s:11:"description";s:666:"Ghost of the Ozarks is one of my favorite films of the year. It’s beautifully done. Just from the set alone, it’s obvious that a lot of care and attention to detail went into making it. To celebrate the release of the film to digital and On Demand, I chatted with star Thomas Hobson about ... Read more";s:7:"content";a:1:{s:7:"encoded";s:10747:"

Ghost of the Ozarks is one of my favorite films of the year. It’s beautifully done. Just from the set alone, it’s obvious that a lot of care and attention to detail went into making it. To celebrate the release of the film to digital and On Demand, I chatted with star Thomas Hobson about the film, practicing his future death scenes, and what’s up next.

PopHorror: Hi Thomas! I loved Ghosts of the Ozarks.

Thomas Hobson: Oh, thank you!

PopHorror: It’s such a beautifully made film and a ton of fun, so I’m really excited to speak with you today.

Thomas Hobson: That means the world. Thank you so much.

PopHorror: So what is it that intrigued you about the film and made you want to be a part of it?

Thomas Hobson: Jordan [director Long] and Matt [director Glass]. Years ago, we made a short film of it and they basically sent me the script and said, “So you’re a doctor in 1868-like Arkansas and the Ozarks.” And I was like, “What?! Sure, yeah sure. Count me in!” Then, to watch the way that the story evolved over the years when they were writing the feature… I remember the day they called and said, “It’s happening, buddy! It’s you. We’re making this movie together.” I was in a grocery store, my very first time out in a grocery store during the pandemic, and I had a full on panic attack.

goto 10

PopHorror: Oh no!

Thomas Hobson: In the middle of the grocery store. I was like, “Oh God. What happens when you get everything that you want and then you have to actually do it?” I promised myself a couple of years ago that I was going to run toward roles that scared me, and James scared me. This movie scared me. No one had ever given me this level of responsibility before. I had been craving it, and they said, “Here it is.” So, I cried some tears, and I said, “I’m terrified, but this is all I’ve ever wanted, and the answer is yes.”

PopHorror: Well, I’m glad that you took that chance, because I thought you were amazing.

Thomas Hobson: Thank you so much.

PopHorror: I spoke to both of them yesterday, and they are so delightful, so I can only imagine that they made it totally worth it and that you had a ton of fun.

Thomas Hobson: Tara has been for well over a decade now, but Matt and Jordan—over the last four years—have become my best friends. So for me, it was like, “What better version of this? To have something this momentous in my life and my career and to get to go into it with three of my most trusted and closest friends. How lucky am I?”

PopHorror: That’s so awesome! I love that. Looking through your past credits, I did not see a lot of horror in there.

Thomas Hobson: No!

PopHorror: Were you a fan of the genre before?

Thomas Hobson: I am a fan of the genre. My best friend is a huge horror movie person, and he’s always dragging me to see the movies with him.

ghosts of the ozarks mob use

PopHorror: Those are the best friends to have!

Thomas Hobson: Those are the best friends! I’m always convinced that I’m going to lose my stuff and not be able to make it through, and then we go see it and he’s like, “Every time you’re like, ‘I’m going to be too scared,’ and then every time, you have the best time in the whole movie theater.” And the truth of the matter is, I used to—I should probably not tell this story—I used to when I was kid and growing up wanting to be an actor for my whole life, I would practice my death scenes for my future horror movies. I guess the real question is, why did it take so long for me to be in one?

PopHorror: Oh, my. That is the best thing I’ve ever heard. I’m so glad that you added that. What would be your weapon of choice in a zombie apocalypse? 

Thomas Hobson: Ooh, in a zombie apocalypse? That’s a very good question. Can I have a chainsaw?

PopHorror: Yes! Absolutely! That’s a great one. I think that would be a lot of fun.

Thomas Hobson: Yeah, I think a chainsaw.

PopHorror: What is up next for you, Thomas?

Thomas Hobson That’s a very good question. I do a TV show for Nickelodeon called That Girl Lay Lay. Not a horror show. It’s a big old family sitcom, and I’m the dad on the show, and we just got our season two picked up today.

PopHorror: Oh, congratulations!

Thomas Hobson: Thank you! It’s been a very good actor day today. Feeling blessed and very grateful today. So that’s what’s up next. Also, I do a show for IFC and Hulu. It’s called Sherman’s Showcase so when I’m done talking to ya’ll today, I get to go film some stuff for that today as well. Just trying to stay busy. 

PopHorror: That’s exciting! Hopefully some more horror in the future since you’ve already practiced.

Thomas Hobson: Exactly! Legit, I think my parents came home once and found me crawling down the hallway and screaming in horror, and my parents were like, “What’s going on?” and I’m like, “Sorry, I’m just doing a whole imaginary scenario where the killer had gotten my leg and I couldn’t run. Never mind, it’s fine.”

PopHorror: That is amazing. One last question for you today, Thomas. What is your favorite scary movie?

Thomas Hobson: That’s a good question. My favorite scary movie… Trying not to be a cliche but, I have such vivid memories of the first Scream movie. I remember where I saw it, I remember what row I sat in, I remember who I was with. So probably the first Scream.

MV5BYjY0MDk4YjMtODcyNC00ODk1LThkOTctNTJjZjI3ZDc1NjExXkEyXkFqcGdeQXVyMzQwMTY2Nzk@. V1

Thank you so much, Thomas, for taking the time to speak with us. Be sure to catch Ghosts of the Ozarks on digital and On Demand now!

We would love to give thanks to the writer of this post for this outstanding content

Interview With Thomas Hobson, Star Of ‘Ghosts Of The Ozarks’ – PopHorror

";}s:7:"summary";s:666:"Ghost of the Ozarks is one of my favorite films of the year. It’s beautifully done. Just from the set alone, it’s obvious that a lot of care and attention to detail went into making it. To celebrate the release of the film to digital and On Demand, I chatted with star Thomas Hobson about ... Read more";s:12:"atom_content";s:10747:"

Ghost of the Ozarks is one of my favorite films of the year. It’s beautifully done. Just from the set alone, it’s obvious that a lot of care and attention to detail went into making it. To celebrate the release of the film to digital and On Demand, I chatted with star Thomas Hobson about the film, practicing his future death scenes, and what’s up next.

PopHorror: Hi Thomas! I loved Ghosts of the Ozarks.

Thomas Hobson: Oh, thank you!

PopHorror: It’s such a beautifully made film and a ton of fun, so I’m really excited to speak with you today.

Thomas Hobson: That means the world. Thank you so much.

PopHorror: So what is it that intrigued you about the film and made you want to be a part of it?

Thomas Hobson: Jordan [director Long] and Matt [director Glass]. Years ago, we made a short film of it and they basically sent me the script and said, “So you’re a doctor in 1868-like Arkansas and the Ozarks.” And I was like, “What?! Sure, yeah sure. Count me in!” Then, to watch the way that the story evolved over the years when they were writing the feature… I remember the day they called and said, “It’s happening, buddy! It’s you. We’re making this movie together.” I was in a grocery store, my very first time out in a grocery store during the pandemic, and I had a full on panic attack.

goto 10

PopHorror: Oh no!

Thomas Hobson: In the middle of the grocery store. I was like, “Oh God. What happens when you get everything that you want and then you have to actually do it?” I promised myself a couple of years ago that I was going to run toward roles that scared me, and James scared me. This movie scared me. No one had ever given me this level of responsibility before. I had been craving it, and they said, “Here it is.” So, I cried some tears, and I said, “I’m terrified, but this is all I’ve ever wanted, and the answer is yes.”

PopHorror: Well, I’m glad that you took that chance, because I thought you were amazing.

Thomas Hobson: Thank you so much.

PopHorror: I spoke to both of them yesterday, and they are so delightful, so I can only imagine that they made it totally worth it and that you had a ton of fun.

Thomas Hobson: Tara has been for well over a decade now, but Matt and Jordan—over the last four years—have become my best friends. So for me, it was like, “What better version of this? To have something this momentous in my life and my career and to get to go into it with three of my most trusted and closest friends. How lucky am I?”

PopHorror: That’s so awesome! I love that. Looking through your past credits, I did not see a lot of horror in there.

Thomas Hobson: No!

PopHorror: Were you a fan of the genre before?

Thomas Hobson: I am a fan of the genre. My best friend is a huge horror movie person, and he’s always dragging me to see the movies with him.

ghosts of the ozarks mob use

PopHorror: Those are the best friends to have!

Thomas Hobson: Those are the best friends! I’m always convinced that I’m going to lose my stuff and not be able to make it through, and then we go see it and he’s like, “Every time you’re like, ‘I’m going to be too scared,’ and then every time, you have the best time in the whole movie theater.” And the truth of the matter is, I used to—I should probably not tell this story—I used to when I was kid and growing up wanting to be an actor for my whole life, I would practice my death scenes for my future horror movies. I guess the real question is, why did it take so long for me to be in one?

PopHorror: Oh, my. That is the best thing I’ve ever heard. I’m so glad that you added that. What would be your weapon of choice in a zombie apocalypse? 

Thomas Hobson: Ooh, in a zombie apocalypse? That’s a very good question. Can I have a chainsaw?

PopHorror: Yes! Absolutely! That’s a great one. I think that would be a lot of fun.

Thomas Hobson: Yeah, I think a chainsaw.

PopHorror: What is up next for you, Thomas?

Thomas Hobson That’s a very good question. I do a TV show for Nickelodeon called That Girl Lay Lay. Not a horror show. It’s a big old family sitcom, and I’m the dad on the show, and we just got our season two picked up today.

PopHorror: Oh, congratulations!

Thomas Hobson: Thank you! It’s been a very good actor day today. Feeling blessed and very grateful today. So that’s what’s up next. Also, I do a show for IFC and Hulu. It’s called Sherman’s Showcase so when I’m done talking to ya’ll today, I get to go film some stuff for that today as well. Just trying to stay busy. 

PopHorror: That’s exciting! Hopefully some more horror in the future since you’ve already practiced.

Thomas Hobson: Exactly! Legit, I think my parents came home once and found me crawling down the hallway and screaming in horror, and my parents were like, “What’s going on?” and I’m like, “Sorry, I’m just doing a whole imaginary scenario where the killer had gotten my leg and I couldn’t run. Never mind, it’s fine.”

PopHorror: That is amazing. One last question for you today, Thomas. What is your favorite scary movie?

Thomas Hobson: That’s a good question. My favorite scary movie… Trying not to be a cliche but, I have such vivid memories of the first Scream movie. I remember where I saw it, I remember what row I sat in, I remember who I was with. So probably the first Scream.

MV5BYjY0MDk4YjMtODcyNC00ODk1LThkOTctNTJjZjI3ZDc1NjExXkEyXkFqcGdeQXVyMzQwMTY2Nzk@. V1

Thank you so much, Thomas, for taking the time to speak with us. Be sure to catch Ghosts of the Ozarks on digital and On Demand now!

We would love to give thanks to the writer of this post for this outstanding content

Interview With Thomas Hobson, Star Of ‘Ghosts Of The Ozarks’ – PopHorror

";s:14:"date_timestamp";i:1644335272;}i:7;a:11:{s:5:"title";s:71:"This chilling new Netflix horror movie has people scared to fall asleep";s:4:"link";s:120:"https://moviestoday.bbc-edition.com/scream-away/this-chilling-new-netflix-horror-movie-has-people-scared-to-fall-asleep/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 14:25:43 +0000";s:8:"category";s:59:"Scream AwayAsleepChillingfallHorrorMovieNetflixpeopleScared";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16696";s:11:"description";s:691:"I read the summary of an academic study recently that fascinated me about all you heathens who love horror movies. Basically, the takeaway was that viewers who happily subject themselves to the twists, scares, and stomach-churning terror of the horror genre actually have more mental resilience than the average person. Which, among other things, puts ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6540:"

I read the summary of an academic study recently that fascinated me about all you heathens who love horror movies. Basically, the takeaway was that viewers who happily subject themselves to the twists, scares, and stomach-churning terror of the horror genre actually have more mental resilience than the average person. Which, among other things, puts them in something of a better position to handle an event like the current global health pandemic. According to Psychology Today, in detailing the new study, one theory holds that “horror films provide a simulated experience of threatening and dangerous situations, and in so doing provide people a chance to experience a sense of mastery over negative experiences.” And if you’re so inclined? You can always check out a new horror movie on Netflix, like the just-released The Wasteland, to put this theory to the test.

The Wasteland movie

Released just last week, this 92-minute Spanish-language feature film is very much a product of the Covid pandemic. It was shot during the global health crisis and uses a bare-bones cast of just three. Netflix’s description of the plot is equally minimalist. “The tranquility of a family that lives isolated from society is suddenly disturbed by a horrific creature that would put the bounds that (tie) them to test.”

Like a lot of the art coming out right now, it’s also hard not to see metaphorical connections to the Covid crisis here. The same way many families are either quarantined or hunkering down at home right now? In this movie, we have a father, mother, and young son who’ve escaped violence in 19th century Spain. They’re now in a home that’s a bit isolated. But a beast is somewhere outside, in the shadows, looming over them.

“All three performers give robust performances that demand a lot of reverence to the story’s self-seriousness,” reads a RogerEbert.com review. “Even when The Wasteland gets a little dry, there is still the respite of a full-bodied performance.”

The Netflix horror movie train keeps rolling on

Asier Flores as Diego, and Inma Cuesta as Lucia in Netflix’s “The Wasteland.” Image source: Lander Larranaga/Netflix

I have no idea if the theory noted above is true. Whether over-indexing on horror genre content can promote something like mental resilience. It certainly sounds plausible, though. That the more kind of mental and emotional calisthenics you put yourself through, the more it toughens up your psyche. At least, for some people.

At a minimum, this might help explain why Netflix keeps teeing up so much fresh content in this genre. Head to Netflix’s Horror page to get a curated selection of all the platform’s current titles in this category, like The Wasteland. Meantime, some of our recent coverage of these Netflix titles is also available to check out below.

We want to give thanks to the author of this short article for this remarkable content

This chilling new Netflix horror movie has people scared to fall asleep

";}s:7:"summary";s:691:"I read the summary of an academic study recently that fascinated me about all you heathens who love horror movies. Basically, the takeaway was that viewers who happily subject themselves to the twists, scares, and stomach-churning terror of the horror genre actually have more mental resilience than the average person. Which, among other things, puts ... Read more";s:12:"atom_content";s:6540:"

I read the summary of an academic study recently that fascinated me about all you heathens who love horror movies. Basically, the takeaway was that viewers who happily subject themselves to the twists, scares, and stomach-churning terror of the horror genre actually have more mental resilience than the average person. Which, among other things, puts them in something of a better position to handle an event like the current global health pandemic. According to Psychology Today, in detailing the new study, one theory holds that “horror films provide a simulated experience of threatening and dangerous situations, and in so doing provide people a chance to experience a sense of mastery over negative experiences.” And if you’re so inclined? You can always check out a new horror movie on Netflix, like the just-released The Wasteland, to put this theory to the test.

The Wasteland movie

Released just last week, this 92-minute Spanish-language feature film is very much a product of the Covid pandemic. It was shot during the global health crisis and uses a bare-bones cast of just three. Netflix’s description of the plot is equally minimalist. “The tranquility of a family that lives isolated from society is suddenly disturbed by a horrific creature that would put the bounds that (tie) them to test.”

Like a lot of the art coming out right now, it’s also hard not to see metaphorical connections to the Covid crisis here. The same way many families are either quarantined or hunkering down at home right now? In this movie, we have a father, mother, and young son who’ve escaped violence in 19th century Spain. They’re now in a home that’s a bit isolated. But a beast is somewhere outside, in the shadows, looming over them.

“All three performers give robust performances that demand a lot of reverence to the story’s self-seriousness,” reads a RogerEbert.com review. “Even when The Wasteland gets a little dry, there is still the respite of a full-bodied performance.”

The Netflix horror movie train keeps rolling on

Asier Flores as Diego, and Inma Cuesta as Lucia in Netflix’s “The Wasteland.” Image source: Lander Larranaga/Netflix

I have no idea if the theory noted above is true. Whether over-indexing on horror genre content can promote something like mental resilience. It certainly sounds plausible, though. That the more kind of mental and emotional calisthenics you put yourself through, the more it toughens up your psyche. At least, for some people.

At a minimum, this might help explain why Netflix keeps teeing up so much fresh content in this genre. Head to Netflix’s Horror page to get a curated selection of all the platform’s current titles in this category, like The Wasteland. Meantime, some of our recent coverage of these Netflix titles is also available to check out below.

We want to give thanks to the author of this short article for this remarkable content

This chilling new Netflix horror movie has people scared to fall asleep

";s:14:"date_timestamp";i:1644330343;}i:8;a:11:{s:5:"title";s:78:"A wave of folk horror movies hits Shudder, inspired by an epic new documentary";s:4:"link";s:126:"https://moviestoday.bbc-edition.com/scream-away/a-wave-of-folk-horror-movies-hits-shudder-inspired-by-an-epic-new-documentary/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Tue, 08 Feb 2022 13:03:24 +0000";s:8:"category";s:65:"Scream AwaydocumentaryEpicFolkHitsHorrorInspiredMoviesShudderwave";s:4:"guid";s:44:"https://moviestoday.bbc-edition.com/?p=16607";s:11:"description";s:731:"Shudder, the horror-movie streaming service, is kicking off the new year with some ancient traditions thanks to a new folk-horror collection. The programming includes 46 movies highlighted in Woodlands Dark and Days Bewitched, a fantastic and comprehensive new documentary on the the folk-horror subgenre. Woodlands Dark is a three-hour long exploration of the history of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:6693:"

Shudder, the horror-movie streaming service, is kicking off the new year with some ancient traditions thanks to a new folk-horror collection. The programming includes 46 movies highlighted in Woodlands Dark and Days Bewitched, a fantastic and comprehensive new documentary on the the folk-horror subgenre.

Woodlands Dark is a three-hour long exploration of the history of folk horror on film. The six-part film is directed by Kier-La Janisse and includes clips from what feels like nearly 100 films, all interspersed with commentary from writers, enthusiasts, filmmakers, academics, and experts. The documentary starts out by explaining the origins of folk horror films, particularly in England, with things like back-to-the-land movements, which recalled England’s pagan history, as well as the country’s unique heritage of witchcraft and wiccans as an opposing force to the often cruel and all-consuming state church.

After these early, English-focused segments, the film shifts perspective to the rest of the world. It explores American folk horror traditions that deal with the country’s dark history with Native Americans (often under the dark cloud of colonials atrocity) and slavery, as well as the unique terror of open spaces and rural land. Finally, Woodlands Dark offers views of folk horror throughout the world including places like Russia, Czechoslovakia, Japan, and many other countries.

While watching the entire lengthy film is an entertaining way to spend an afternoon, it’s probably not the best way to take in Woodlands Dark. Instead, the documentary is best approached by breaking it down and watching it one part at a time, then watching that segments’ most important movies once you’re done with it.

Of course, finding time for all 45 movies is a pretty tall order. So here are six folk horror movies currently on Shudder that should give you a good idea of the folk horror genre and help you enjoy the documentary a little more.

The Wicker Man (England, 1973)

One of the quintessential English folk horror movies, The Wicker Man follows a god-fearing detective as he heads to a remote British island, where a charismatic man — played by a young Christopher Lee — leads a cult-like village that aims to return to the pagan roots of English culture. If you’ve never seen this classic, this is a great context in which to finally settle down to behold it.

Witchfinder General (England, 1968)

Witches are a critical part of folk horror and from the very beginning they’ve always been more complicated than good or evil and real or fake. Witchfinder General takes place at the height of the medieval witchcraft scare in England and follows Vincent Price as an evil witch hunter who goes from town to town stoking up fears of magic, only to take over the towns for his own horrible benefit.

Viy (Soviet Union, 1967)

Viy follows a young Russian seminary student in the 19th century who is tasked with staying three nights in a crypt to bless a woman’s soul as it ascends to heaven. However, during the first night, the woman comes alive and tries to destroy his faith, first by seducing him, then by summoning an army of demons. Viy was the USSR’s first horror film, and draws in similar elements from the church-versus-tradition films of England, but with a distinctly different tone. It’s creepy, but also often outright silly with a tone that has helped the movie age into a brilliant and entertaining mix of horror, camp, and general mayhem.

The Texas Chainsaw Massacre (United States, 1974)

One fascinating argument that Woodlands Dark makes is that Texas Chainsaw Massacre deserves a spot in the conversation about folk-horror films. Set in the dusty and desolate plains of small-town Texas, this horror classic follows a group of teenage friends as they fall victim to the chainsaw-wielding man/monster Leatherface. Most of America’s folk traditions don’t go back as far as their European counterparts, but the country is full of the kind of open, secluded, and distinctly un-modern towns that contemporary folk horror stories thrive on.

Noroi: The Curse (Japan, 2005)

Noroi is a found-footage horror movie about a Japanese filmmaker investigating supernatural occurrences all over the country. As he continues his research, he realizes that an entire old village has been flooded to create a new dam, thus disrupting an ancient folk ritual that was keeping a demon at bay. This idea of commerce, technology, and big business upsetting the folk traditions — rather than the 20th century idea of the church as the disturbing force — is something that can be found in modern folk horror films around the world, but is particularly clear in Noroi.

La Llorona (Guatamala, 2020)

Not to be confused with the mediocre-at-best Conjuring-universe movie, The Curse of La Llorona, this Guatemalan film is one of the most haunting and beautiful horror movies released in the last several years. The film follows a lightly fictionalized version of Guatemalan dictator Efraín Ríos Montt, under whose leadership the Guatemalan army perpetrated a mass genocide of the county’s native population — known as the Silent Genocide. In the film the dictator is put on trial late in his life, but after he is unjustly ruled innocent, the spirits of the Kaqchikel people he helped kill begin to haunt his home.

We wish to thank the author of this short article for this amazing material

A wave of folk horror movies hits Shudder, inspired by an epic new documentary

";}s:7:"summary";s:731:"Shudder, the horror-movie streaming service, is kicking off the new year with some ancient traditions thanks to a new folk-horror collection. The programming includes 46 movies highlighted in Woodlands Dark and Days Bewitched, a fantastic and comprehensive new documentary on the the folk-horror subgenre. Woodlands Dark is a three-hour long exploration of the history of ... Read more";s:12:"atom_content";s:6693:"

Shudder, the horror-movie streaming service, is kicking off the new year with some ancient traditions thanks to a new folk-horror collection. The programming includes 46 movies highlighted in Woodlands Dark and Days Bewitched, a fantastic and comprehensive new documentary on the the folk-horror subgenre.

Woodlands Dark is a three-hour long exploration of the history of folk horror on film. The six-part film is directed by Kier-La Janisse and includes clips from what feels like nearly 100 films, all interspersed with commentary from writers, enthusiasts, filmmakers, academics, and experts. The documentary starts out by explaining the origins of folk horror films, particularly in England, with things like back-to-the-land movements, which recalled England’s pagan history, as well as the country’s unique heritage of witchcraft and wiccans as an opposing force to the often cruel and all-consuming state church.

After these early, English-focused segments, the film shifts perspective to the rest of the world. It explores American folk horror traditions that deal with the country’s dark history with Native Americans (often under the dark cloud of colonials atrocity) and slavery, as well as the unique terror of open spaces and rural land. Finally, Woodlands Dark offers views of folk horror throughout the world including places like Russia, Czechoslovakia, Japan, and many other countries.

While watching the entire lengthy film is an entertaining way to spend an afternoon, it’s probably not the best way to take in Woodlands Dark. Instead, the documentary is best approached by breaking it down and watching it one part at a time, then watching that segments’ most important movies once you’re done with it.

Of course, finding time for all 45 movies is a pretty tall order. So here are six folk horror movies currently on Shudder that should give you a good idea of the folk horror genre and help you enjoy the documentary a little more.

The Wicker Man (England, 1973)

One of the quintessential English folk horror movies, The Wicker Man follows a god-fearing detective as he heads to a remote British island, where a charismatic man — played by a young Christopher Lee — leads a cult-like village that aims to return to the pagan roots of English culture. If you’ve never seen this classic, this is a great context in which to finally settle down to behold it.

Witchfinder General (England, 1968)

Witches are a critical part of folk horror and from the very beginning they’ve always been more complicated than good or evil and real or fake. Witchfinder General takes place at the height of the medieval witchcraft scare in England and follows Vincent Price as an evil witch hunter who goes from town to town stoking up fears of magic, only to take over the towns for his own horrible benefit.

Viy (Soviet Union, 1967)

Viy follows a young Russian seminary student in the 19th century who is tasked with staying three nights in a crypt to bless a woman’s soul as it ascends to heaven. However, during the first night, the woman comes alive and tries to destroy his faith, first by seducing him, then by summoning an army of demons. Viy was the USSR’s first horror film, and draws in similar elements from the church-versus-tradition films of England, but with a distinctly different tone. It’s creepy, but also often outright silly with a tone that has helped the movie age into a brilliant and entertaining mix of horror, camp, and general mayhem.

The Texas Chainsaw Massacre (United States, 1974)

One fascinating argument that Woodlands Dark makes is that Texas Chainsaw Massacre deserves a spot in the conversation about folk-horror films. Set in the dusty and desolate plains of small-town Texas, this horror classic follows a group of teenage friends as they fall victim to the chainsaw-wielding man/monster Leatherface. Most of America’s folk traditions don’t go back as far as their European counterparts, but the country is full of the kind of open, secluded, and distinctly un-modern towns that contemporary folk horror stories thrive on.

Noroi: The Curse (Japan, 2005)

Noroi is a found-footage horror movie about a Japanese filmmaker investigating supernatural occurrences all over the country. As he continues his research, he realizes that an entire old village has been flooded to create a new dam, thus disrupting an ancient folk ritual that was keeping a demon at bay. This idea of commerce, technology, and big business upsetting the folk traditions — rather than the 20th century idea of the church as the disturbing force — is something that can be found in modern folk horror films around the world, but is particularly clear in Noroi.

La Llorona (Guatamala, 2020)

Not to be confused with the mediocre-at-best Conjuring-universe movie, The Curse of La Llorona, this Guatemalan film is one of the most haunting and beautiful horror movies released in the last several years. The film follows a lightly fictionalized version of Guatemalan dictator Efraín Ríos Montt, under whose leadership the Guatemalan army perpetrated a mass genocide of the county’s native population — known as the Silent Genocide. In the film the dictator is put on trial late in his life, but after he is unjustly ruled innocent, the spirits of the Kaqchikel people he helped kill begin to haunt his home.

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A wave of folk horror movies hits Shudder, inspired by an epic new documentary

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For horror fans, there’s nothing like watching the latest thrilling release through your fingers on a Friday night. This year’s slate of upcoming scary movies brings back some of the most beloved horror franchises, while also showing new works by our favorite directors (Jordan Peele, anyone?). From a comic book antihero to several novel adaptations, including one from Stephen King, these are the horror movies to put on your watchlist in 2022.

‘Scream’

Premieres: January 14, 2022

We would love to say thanks to the writer of this article for this remarkable content

The 14 Best Horror Movies of 2022 (So Far)

";}s:7:"summary";s:614:"For horror fans, there’s nothing like watching the latest thrilling release through your fingers on a Friday night. This year’s slate of upcoming scary movies brings back some of the most beloved horror franchises, while also showing new works by our favorite directors (Jordan Peele, anyone?). From a comic book antihero to several novel adaptations, ... Read more";s:12:"atom_content";s:27750:"

For horror fans, there’s nothing like watching the latest thrilling release through your fingers on a Friday night. This year’s slate of upcoming scary movies brings back some of the most beloved horror franchises, while also showing new works by our favorite directors (Jordan Peele, anyone?). From a comic book antihero to several novel adaptations, including one from Stephen King, these are the horror movies to put on your watchlist in 2022.

‘Scream’

Premieres: January 14, 2022

We would love to say thanks to the writer of this article for this remarkable content

The 14 Best Horror Movies of 2022 (So Far)

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