The Overlook: Kristie

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As promised, here is "The Overlook" article on the slasher film, Kristy. Here's a fun fact, this movie and this entire section typically can be found on Netflix! Fun and easy right? The reason I don't have this and the "Best of Netflix" section share one title is simply because "The Overlook" opens up the possibility to do articles on movies not found on Netflix. I'm not so sure what those movies are but we'll see.

Anyway, onto Kristy.

Kristy follows the story of a girl named Justine who is stalked and attacked by a gang of videotaping cultists during Thanksgiving break. The movie begins with Justine, played by Haley Bennett (most recently the film adaption of The Girl on the Train), deciding to stay on campus while her peers go off to see their family and friends. Then what started as a eerily quiet night quickly becomes a nightmare when a run-in with a woman named Violet, played by Ashley Greene (Twilight), turns confrontational. Turns out, Violet is a part of a bigger plan that commits ritual murders for a website focused on killing "Kristy." The movie plays out with a typical, but thrilling, cat-and-mouse game where Justine becomes a formidable foe against her masked assailants.

Kristy is one of the best under-the-radar horror films I've seen in a while. As a classic slasher, this film never tries to be anything more than what it is; a confident and terrifying hunt. While never breaking barriers or attempting to accomplish any transcendent goal, Kristy is a strong entry into the disappearing subgenre. With jump scares paired with atmospheric tension, Kristy is perfect to watch in a dark secluded place.

One of the film's biggest strengths is in its acting. For both Bennett and Greene, their turns as target and killer are outstanding. The pair work well together and instantly elevate scenes past any point of mediocrity. Another great aspect of the movie is it's ability to create tension and strike fear into its viewers. Like any indie horror film, I definitely had doubts that this movie would be any sort of thrill ride. Boy, was I wrong. I recall jumping multiple times as I watched and can vouch for being frightened by her travels through dark hall ways and doors.

If I was to note any cons of this movie, the masks worn by the fellow member of the gangs would be it. I don't know what they were supposed to be, but tinfoil is never in style. The mask is a calling card of a lot of slasher films and these did not work. Something about the purposeful cheapness of the mask also made the film seem cheaply made. Even with a small budget, I have a hard time imagining that tinfoil masks were the best route to go. But really, this is my one notable criticism.

Before Kristy was on Netflix, I had literally no idea it existed. Despite being invested in the horror genre prior to its 2015 premiere on Lifetime, this modern horror gem is a surprisingly good and grounded product of the often melodramatic network. I recommend Kristy to literally anyone asking for suggestions. On the horror subreddit, to friends and even to strangers, I feel like this movie should receive a little more recognition than it has. Sure it's not anything new, but for people wanting a clean, classic slasher with little moral depth, Kristy does the trick.

 

 

Best of Netflix: The Canal



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Sometimes it can feel way too easy to run out of passable horror movies on streaming sites like Netflix. Sure, you could settle into a movie so unbearable it's hard to watch (for the record, I don't find it's-so-bad-it's-funny to be funny), but In all honesty, you'd have an easier time watching paint dry. In this section, I will cover various horror movies on Netflix that are worth the watch. I will hold from saying they're amazing, but given a chance the movies listed on these days will at least be watchable. This post looks at 2014's The Canal.

The Canal stars Rupert Evans (The Boy) as David, a film archivist whose wife, Alice, played by Antonia Campbell-Hughes (Storage 24), turns up dead. All of this becomes problematic when it becomes clear that foul play was involved and Alice had just been discovered cheating on David. The Canal devolves into David attempting to pull together the night of his wife's disappearance and the roles he may have played. The movie is then blasted with possibilities of devil worshipping and ghosts running amuck. 

While sometimes more mystery than horror, The Canal is a must see for horror fans running out of movies to watch. I'll be honest, the first time I turned The Canal on. I turned it off. From its promotional poster and the slider on Netflix, one would expect this film to fall apart with cheap, paper thin jump scares and bad effects, but what actually results is an above average murder-mystery of supernatural proportions.

For the horror genre, a lot of movies are ruined firstly by bad acting. Luckily, The Canal is a passable feature with actors who don't seem pulled from the street onto a camera. In addition, The Canal does offer up a few creepier moments, namely the canal bathroom scene where David first encounters the supernatural.   

The Canal feels like a novel; it’s an era murder-mystery that inevitably ends up as a motion picture. At varying points, this book-like quality works against the movie- namely the dense plot points that would better serve with an in-depth explanation as to what is happening. Because of its limited runtime though, these moments are left rather shallow. The second feature that suffers because of the movie's broad net is its character building. For supporting characters, this becomes evens more prevalent. Claire, a coworker of David flutters in and out of scenes with little depth and explanation.

The Canal is most effective when it stays simple. David's unreliable narrative on the night of Alice's death is entertaining enough and the idea that there may be some other-worldly force involved is equally as great, but additional plot points only muddle the movie. I'm not saying it's perfect, but The Canal is an easy watch for horror fans looking for noncommittal movies with tension.

10 Favorite Horror Movies (Ever) (Part II of II)



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5. The Houses October Built

When this movie first came out, its promotional material left me questioning it's quality. I first saw it the weekend after it was released (this is important to note for the validity that I am in fact a taste maker), and since then, it has become a Netflix hit. Prior to its addition to streaming though, this movie was bubbling under the sea with a very small group of fans.

I am so happy it has become better known. As a late entry into the over-saturated found-footage subgenre, The Houses October Built is maybe one of the best. It's a terrifying and realistic movie following a group of friends searching for the biggest "haunt" (what the film calls haunted houses). They take it a step too far and things spiral out of control. What gets to me is the fact that the movie felt like something my friends and I would do or would at least attempt to a lesser extent. The Houses October Built isn't necessarily the most original, but it is a really effective and grounded movie that will leave you at the edge of your seat.

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4. Insidious & Sinister (that's right, another tie)

The next four (five because of Sinister) on this list are undoubtedly modern classics. I decided to place these two movies together because of the level of fear they struck into me. As a fan of Blumhouse, the fact that these movies came from the same company does not surprise me. They are perhaps the most terrifying set of film within the past 10 years, only rivaled by James Wans' The Conjuring (he also made Insidious). I cannot even explain how I felt after watching these movies because they struck such a deep cord.

Even their eventual sequels, while sometimes problematic, are perfectly fine entries into the genre (expect a "In Defense" article on the third Insidious). Bughuul (Sinister) left me with days and nights of little sleep and constant fear (maybe a slight exaggeration, but not much of a stretch). That, paired with every ghost in Insidious has left me deeply troubled. The moments in the baby's room alone- from the horrifying man behind the crib to the baby monitor, make Insidious a worthwhile venture.


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3. The Babadook

One of my proudest moments in my life was watching The Babadook get released. As someone who caught up with the film immediately at the end of its Kickstarter campaign, I felt personally attached to the movie and now, as I have watched it spread its horrifying cape, I can't help but smile. Even without the horror, the story of a woman struggling to raise a problem-prone son would be compelling (Essie Davis is stunning). But, when you add in the lucid scares that seem central to The Babadook, there's no denying this film's power.




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2. The Witch

Widely recognized as one of the best films of 2016 and most certainly the best horror movie of the year, The Witch is a terrific  period piece that's slow burn is powerful. I've talked to some people who did not enjoy this movie and for each of those people, I came to love it even more. The Witch is a piece of art, and a scary one at that. There is literally nothing wrong with this movie. From Black Phillip to each of the actors' and actresses' turns as colonial folk, The Witch is amazing.

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1. The Conjuring

I don't even know what to say about this movie without sounding repetitive of the other entries on the list, except that it is all of the positive things above, and then some. I have been engrossed by this movie ever since I saw a midnight premiere and witnessed an entire audience collectively scream. It felt unreal as the camera panned up to the wardrobe where Bathsheba sat ready to pounce. I don't care how unoriginal it is for this movie to be my favorite, because it simply cannot be beat. I would love for something to challenge it though, just so I can have that moment of being that impressed once more.

 

10 Favorite Horror Movies (Ever) (Part I of II)

It's been about a week since I began this blog and I realized that I most definitely should have started things off acknowledging my favorite horror movies of all time. As noted, I am a child of modern horror and my opinions tend to reflect that. I do enjoy some classics and will more than likely talk about them again, but in terms of my current standings on the industry, only two "classics" made it into my list. However, I would argue that all of the movies I've listed will be looked back upon as classics as well.



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10. The Strangers

As previously noted in my list of favorite slashers, I truly love The Strangers. From the nostalgia it provides for me to the very real fears it doles out, it's a staple in my horror collection. I have been confused for so long as to how so many people collectively decided they didn't enjoy this movie, I spent years backing into rooms making sure no one was about to come behind me. Fire alarms still give me pause and I am always afraid to be home alone. With all that said, I think it would be a lie not to include The Strangers on my top list.



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9. The Descent

The Descent frequently is placed on lists of best modern horror films, but it is so much more. The Descent is a bona fide classic. The first time I saw this movie I was left scarred. It is a deep, terrifying adventure film that also happens to feature a diverse group of female leads, and honestly it deserves more recognition than it gets. The Descent was everything in high school and I'll be watching it this weekend. 

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8. The Exorcist

For all I say about modern horror, The Exorcist continues to be one of my favorites of all time. It's too amazing not to love and where other older horror movies falter when looked at through today's lens, The Exorcist holds on. It's acting isn't overrated or outdated, not even its effects seem that outlandish and fake. The movie is able to transcend time and I am here for it. 

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7. Cabin In The Woods

What is this movie? That was my question the first time I saw Cabin in the Woods. I then went back to the theater and saw it two additional times. It's funny without trying too hard, scary without it being the center of the film and interesting beyond all belief. I really, really dig this movie. I love it so much I have purchased merchandise featuring it. The scares  are real, the humor is solid and no one can say it's an un enjoyable movie. By the time Sigourney Weaver, one of the original "final girls," shows up, the brakes have been completely smashed away.



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6. Scream

I loved all four of these movies. They're so emblematic of everything Halloween (I'd argue even more so than Halloween itself) and for this reason alone, it's one of my favorites. On top of that, I love the characters- From Sid to Dewey, to literally anything that Cougar Town says, this movie is a relentless horror movie that is in on any jokes it offers. It's the ultimate satire and I am here for it. There is not a thing I would change about these movies. While not particularly scary (except for the stray jump), Scream is a must-see horror movie for literally anyone ever.

The Overlook: Shelley

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Titled "The Overlook," these articles are meant to give more exposure to movies the nine readers I have may have overlooked (get it?).

From Rosemary's Baby onward, prenatal horror has developed much like the fetuses of their subgenre content. Seemingly ready to explode, pregnant mothers in horror have reached somewhat of a tipping point. Whereas years ago an occasional movie would have a woman facing her possibly doom at the hands of a questionable birth, now the prenatal ward seems overrun. Even movies who's focus is away from the pregnancy, like Annabelle, feature pregnant women fighting off an inside threat.
 

However, just like in any over-saturated subgenre, small gems might just peak through (see the addition of Train to Busan to the zombie one). This is the world where we find Shelley. Telling the story of a live-in maid named Elena who agrees to have her employers baby, Shelley is a slow, dreary burn. From its beginning moments, director Ali Abbassi showcases an innate ability for character development. That, paired with outstanding turns by the three leads- Ellen Dorri Peterson (Blind) as Louise, a heartbroken mother with issues,  Cosmina Stratan, (Dupa dealuri) as the maid Elena and Bjorn Andresen (Gentlemen) as the concerned husband with twisted intentions, all work well to captive viewers.

The resulting product is compelling. Sure Elena's employers are odd, but their intentions seem good and their hardships are difficult not to feel empathy for. Every character seems intimately woven to matter and they each begin loving enough, in fact, it's only when the oddities begin that the viewer is given any pause as to the couple. This is where the film turns it's attention and becomes less subtle. From a witch doctor with questionable credentials to the plethora of awkward stand offs between the two women, Shelley becomes quickly unsettling.

Shelly is sometimes lethargic - it's placid, woodsy backdrop and candlelit rooms could make a grown elephant sleepy, but that's part of what makes the movie so special. It's alluring and atmospheric setting makes settles you in, only to pull the rug from you at the film's climax.

Shelley is quiet, its subtle surroundings and rather peaceful landscapes provide a contradictory façade. It's setting working alongside the dark and bubbling plot, propelling Shelley past boredom.

It's currently on Netflix, so literally 98 percent of the world has no reason not to see it.

Review: The Axe Murders of Villisca



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I frequently talk about what I believe is a horror renaissance. I haven't looked too deeply into the matter and am sure others discuss it in great length, but I honestly believe the genre has been revitalized in recent years. Horror has become big business. Transcending genres, movies like The Witch received critical acclaim and set to appeal to atypical fans and those who don't enjoy the genre.
  

One underrepresented party in this renaissance is IFC Midnight. Bringing attention to a plethora of horror gems (most recently Autopsy of Jane Doe and The Babadook), IFC Midnight has done more than its fair share. That's one of the reasons I was shocked about their acquisition of their latest film, The Axe Murders of Villisca. From the trailer alone, this movie seemed of suspect quality. However, seeing as how IFC Midnight took on its distribution, I gave it a chance.

 

Marring a near perfect record for me, IFC Midnight's The Axe Murders of Villisca begins well enough; it's crazed opening sequence was enough to settle into. But, what begins as a youthful and easy-going horror film quickly devolves into an entirely off-putting B-horror movie with questionable plot points, ridiculous imagery and rampant stereotyping. So much of this movie felt unnecessary- from the dead parent storyline of one character to that same homosexual character's overly stereotypical blind lust for his heterosexual counterpart, Axe Murders felt like a movie that wanted to be so much more but ended up being so much less. By the movies climax, The Axe Murders of Villisca becomes so inept that this review was the only thing that left me watching.

Let's first examine the salvageable: the first half of this movie seems to be setting viewers up for something enjoyable. The acting, while sometimes tripped by poor writing, is performed well enough by the three leads. Robert Adamson (The Young and the Restless) as group leader, Caleb, Jarrett Sleeper (Stranger Than Fiction) as gay friend, Denny, and Alex Frnka (The Inbetweeners) as bad girl, Jess, all seem destined for bigger and better things. Each is fine until the writing and storyline become so poor that not even they are able to salvage it.

 

This entire storm climaxes with the concluding scene. Somehow on its own plane of awfulness, the tossed up, I'll-take-the-blame finish to Axe Murders is grating. Hurried and actually stupid (there is no other word to describe it), the conclusion is more than laughable, it's condemnable.

 

Perhaps the one blessing of this movie is its short runtime. At less than 90 minutes, The Axe Murders of Villisca won't cause you actual physical pain. That's about it. To be honest, I expected more from IFC Midnight and I'm in awe at this movie's existence. I'd give The Axes Murders of Villisca 2 pitch black eye contact out of 10 and 3 stars out of 10.

 

 ***I added one pitch black eye contact for Bertha of Two and a Half Men fame being in it. Don't know how she ended up employed at a school, but it's certainly a welcome addition***

 

Review: Split

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Rest my troubled heart. After the release of The Bye Bye Man last week, I was slightly worried about the state of horror in 2017. As the first major horror release of the year, it definitely did not set things off on the right foot. From its shaky storyline to a bountiful supply of disappointing "scares," The Bye Bye Man made an early bid for the worst theatrical-release horror movie of the year and possibly set the tone, however with the release of Split, the board may be reset yet. 

Split gives horror veteran, M. Night Shamaylan, a strong, star-studded follow-up to his critically acclaimed 2015 film, The Visit. Split stars James McAvoy (X Men: First Class) as Kevin, a man diagnosed with dissociative identity disorder (DID) coping with 23 identities and a possibly dangerous 24th; an omnipresent monster-human named "the Beast." Starring alongside him is

newly annointed scream queen, Anya Taylor-Joy (The Witch) as Casey and Betty Buckley (Cats) as DID psychiatrist, Dr. Karen Fletcher. The film also features Haley Lu Richardson (The Bronze) as Claire and Jessica Sula (Skins) as Marcia.

Split opens its world at the birthday party of Claire, where Marcia, Claire's best friend and Casey, an outsider welcomed as a "pity invite," later need a ride home. When Kevin as one of his more dangerous personalities named Dennis hijacks their car and knocks the women out, we quickly come to realize that the women are in very real danger. The rest of the film plays out with the three attempting escapes and Dr. Fletcher's consultations with Kevin's Dennis masquerading as fashion designer identity, Barry; all while "the Beast" creeps closer and is later revealed.

 

As good as its plot sounds, Split is a constant and unrelenting gesture of proper suspense and for McAvoy; it is one of his most prominent turns to date. In fact, acting on all corners of the board are stunning. Taylor-Joy is terrific as a broken down possible final girl, and Buckley, Richardson and Sula do amazing in their supporting roles. This group, if assembled again could make any horror movie worthwhile. Whether it’s the strong-headed, but quickly destitute, Claire, the more subtle follower Marcia or Casey speaking, each of the three women seems far more established than any young actress should be. And for veteran Buckley, this film only adds to her extensive repertoire. All of that, piled alongside McAvoy's innate ability to move through different mannerisms and "identities," make every scene great.

 

Split is scary. Shyamalan’s ability to create a film that is terrifying through its sense of overhanging fears, rather than relying on jump scares, is undeniable. While every moment seems to exist only to act as a bridge to the final climax and reveal of "the Beast," Split never halts intrigue. Sure there are multiple attempted escape sequences, but McAvoy's command over the different characters is captivating enough for audiences.

 

Overall, Split deserves every laurel it gets. From each actor to the plot, to the continual train of thrills, Split is indestructible. It's renewed by hope for this year in horror and in this new, revitalized M. Night Shyamalan world, it's a welcome addition. I give it 98 personalities out of 100 and 9 out of 10.

Best in Show: Slasher Films (Part II of II)

Here we go- the conclusion of yesterday's list:

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5. The Texas Chainsaw Massacre & Halloween (tie, yeah that's right, a tie) (1974 & 1978)
Invoking fear as the sun sets around his grotesque features, Leatherface's dance with his chainsaw is one of the industry's most cinematic moments. I personally believe this is one of the most off-putting movies of all time (in the best way possible). As a horror fan, it's hard not to respect and appreciate a film that has spawned so many sequels and remakes. The Texas Chainsaw Massacre is disgusting, but also beautiful in its creation- a complex and horrifying product that is recognizable even to those who have not seen it (Don't worry, I have), and for that it's a necessary addition to this list.

I originally had Halloween as number six on this list but altered it to fit different movies; after all, every "best slashers" lists online often ends up looking the same with a lot of classics. Both films stand out alone but also work hand-in-hand as emblems of the subgenre. The music of Halloween, like the imagery of The Texas Chainsaw Massacre, is iconic and so are the characters within. Laurie and Michael Myers are often recognized as some of cinema's greatest, and I would agree.



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4. Saw (series) (2004-2017)

Somewhere in between slasher and torture, the Saw series has become an iconic- sometimes laughable franchise of insane traps and a puppet named Billy. Featuring the serial killer Jigsaw and his secret collection of accomplices, I would most definitely place this movie set in the slasher subgenre (as evident by its existence on this list). Sure, sometimes the movies are shallow and unrealistic, but the creative traps alone are enough to place it on this list. I loved the series throughout high school and continue to force others to enjoy it as well.



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3. Nightmare on Elm Street (1984)

I went back and forth on the validity of Nightmare on Elm Street as a slasher film. Sure it has a killer, but it’s also supernatural and to me, slashers are at least somewhat grounded in reality. For years, Freddy has been considered one of the greatest horror legends of history and rightfully so. But, while Elm Street is often noted as a slasher, I didn't necessarily agree. I did however, end up adding him anyway since this movie is amazing. Despite dated graphics, there is something constantly terrifying about The Nightmare on Elm Street. The inescapable nature of his killings is truly the stuff of nightmares (get it?).



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2. The Strangers (2008)

I first saw The Strangers while dog-sitting at a country home. To say I was terrified is an understatement. The Strangers is about a dismantling couple who are subtly stalked and then attacked in a secluded house. One of the reason's this movie is effective (other than it's "based on a true story" prologue) is it's deeply grounded imagery and plot. Nothing that happens in this movie is all that unrealistic and this alone should leave viewers sunk into their seats. To this day fire alarms make me feel like someone is behind me.

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1. Scream (series) (1996-2011)

The Halloween costume most worn in the history of ever has to be Ghostface. The Scream series is easily the most entertaining and simultaneously the greatest set of slasher movies ever (yes, even the fourth). With a cast of reoccurring characters that you grow to love, a whodunit element of surprise and never ending satire, the self-reflective series is one of the movie industry's greatest accomplishments (sorry Avatar).



Best in Show: Slasher Films (Part I of II)

It's easy to judge horror movies for their plethora of flaws and problematic storylines, but when taken at face value, these easy-to-watch movies can provide a simple escape from life. The slasher film subgenre dates almost as far back as the horror genre itself. From classics like Psycho (which I have not included in this list because it is largely considered one of the very originals making it somewhat impossible to include in a personal ranking system without a ton of backlash) to 2016's Hush, slashers continue to permeate our culture. Below, I've listed the first five of 10 movies I'll be acknowledging as part of my "Best In Show: Slasher Films" list. You'll notice a lot of more modern movies, and will also acknowledge that this is my opinion, not yours (but, you can definitely include yours in the comment below with ones YOU believe are great! #positivity).  

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10. Sorority Row (2009)
Based on the original The House on Sorority Row, this 2009 slasher taking place in a sorority house may not offer much in the form of originality or tact, but the resulting film is ardently entertaining. Offering a few of the best kills in modern horror, a cast of characters you can love to hate (including the amazing Carrie Fisher as House Mother, Mrs. Crenshaw) and moments that are simultaneously quotable and hilarious, Sorority Row is that guilty pleasure you can't be without.

9. Kristy (2014)

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Despite its under-the-radar release (look out for an entire "Overlook" article on it), the 2015 Lifetime premiere of Kristy and later addition to Netflix should not go unnoticed. Like Sorority Row, the film doesn't necessarily offer much in terms of groundbreaking moments but it's plot and intensity certainly make up for any inefficiencies. Kristy follows a college student who stays behind in her dorm during Thanksgiving break and is then attacked by a cult of videotaping murderers. Haley Bennett is stunning as protagonist Justine and Ashley Green is effective as the off-center leader of the cult.

(Wikipedia.org)

8. Cry Wolf (2005)
Cry Wolf screams of the mid-2000s. Padded with harsh lighting and sometimes questionable directing, Cry Wolf tells a thrilling story. Featuring the all of the characteristics of a mid-2000s slasher, Cry Wolf showcases a group of friends playing a game similar to "mafia," when all of a sudden, things become a little too real. Coming upon the movie in high school when games like the one played in the film were popular, made Cry Wolf hit very close to home. The killer whose sole identifier is a ski mask, felt realistic and dark, and throughout the film's runtime, all of us viewing were engrossed by the possibility of this plausible occurrence. Cry Wolf has its fair share of flaws, but overall it's a worthwhile whodunit.

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7. Hush (2016)
One of Netflix’s first feature film distributions in the horror genre also happens to be one of the best horror films of 2016. Starring Kate Siegel (The Curse of The Black Dahlia) as Maddie, a deaf woman living alone in the woods, Hush throws viewers into a frightening game of cat-and-mouse with a masked killer chasing after Maddie.  Hush wins points for being an extremely effective and original tale with plenty of intense moments.

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6. You're Next (2011)
You're Next is about a woman who attends her boyfriend's family reunion at a secluded home. Soon after arrival strange things begin to happen and a couple animal masked killers go to town on the family. This clever and thrilling film is an absolute trip. Successfully juggling moments of satire with intensity, while difficult, is a task You're Next makes look easy.  It's a darkly comedic look at a family of unlovable and out-of-touch aristocrats battling against their dislike for one another and very real problems just out the window.

In Defense Of: The Forest

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In this line of articles, my goal is to offer up the slightest bit of credit where it is due. I'll talk about a movie that got a bad rap, perhaps too harshly; movies that weren't necessarily critically panned, but were certainly not offered any props. To begin, I want to talk about The Forest.

Starring Natalie Dormer (Game of Thrones), this film came out in 2016 and has generally been relegated to the $5 bin of horror (you know, not so awful all of the copies were smashed, but definitely not given a prime spot on Wal-Mart's shelves). The film is set, somewhat offensively in Japan's "Suicide Forest," and barring any inspection of the culture indecency provided by The Forest, I do think this movie offer up some great potential.

For one, Natalie Dormer, no matter what she does, is a powerful actress. Her nuanced vocal tones, likability and overall command of a frame could drag a video of paint drying through a critic pile-on. In The Forest she plays a twin searching for her sister beneath Mt. Fuji. There she enlists the assistance of Taylor Kinney's character who inarguably ends up being off-putting and insufferable. But, luckily Dormer shines. Between the intensity in her eyes and the eventually lucidity of her mind , she consistently leads audiences in a purposefully confusing maze of wonderment. 

In addition, I also want to acknowledge the film for its terrific setting and atmosphere This movie is lush. Dense and foggy, the entire setting of The Forest is haunting. Immersing yourself in the deep, wet (ugh, I dislike that word, but not as much as I dislike moist) forest leave viewers feeling cold and disparaged. It's grayish, inescapable backdrop offers up a sense of impending dread and throughout this movie, I only wanted hot coffee and a blanket.

The final point I want to address is the scares. While remembered as a not-so-scary flick, I disagree. As a whole I wasn't left deeply disturbed or haunted, but I do believe The Forest had its moments. I particularly remember feeling unsettled as Dormer's character explores deep in the cave alongside a school girl with a devilish grin who led her around dark corridors. I also definitely understand the fear of waking up to sounds outside of your tent and having little to no energy to inspect.

Overall, I'm not saying that The Forest is some shining spot in the genre, but I do feel like it deserves some sense of belonging. I personally enjoyed the movie save Kinney and particularly found the mood and pacing of it enjoyable.

Review: The Bye Bye Man

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January has been a struggle for horror movies ever since the first blog pointed it out. Between failed box office sales and scathing reviews, the genre has no friends during this cold winter month. There are exceptions and it's easy to have high hopes for Split after M. Night Shymalan's The Visit, but ultimately this "dump month" has taken no prisoners. Enter The Bye Bye Man. Heading in with little to no expectations proved beneficial, but ultimately pointless. From its award-winning title (sarcasm), to the over-acted, sometimes laughable performances by the cast- even more so for those in supporting roles, the film was a quick and sloppy hit job offering far too few scares and disjointed storytelling. The Bye Bye Man, save a few jump scares, did little to pull the audience along on a direct path of fear and horror. 


The Bye Bye Man tells the story of a group of three friends who rent a too-large house near the college they're attending. The old, somewhat depleted house that they can somehow afford, comes equipped with it's own storied past and soon "spooky" things start happening. As it turns out a reaper(?) named The Bye Bye Man (yes, the same one from the title) seeks out and kills people who say, and in turn become obsessed with, his long-winded name. Written by former Survivor contestant, Jonathan Penner, and directed by Stacy Title (Let the Devil Wear Black), The Bye Bye Man stars Douglas Smith (Ouija), Lucien Laviscount (Scream Queens) and Cressida Bonas.

As an atypical horror fan that actually enjoys the occasional jolt resulting from a jump scare, I wish I could commend the work of The Bye Bye Man, yet, I can't. Far and few between, the movie's jump scares are weak and predictable. As noted, I am perfectly happy with jump scares and mainstream, modern teen horror. I quite love throwing out my back as I fall out of my seat and actually enjoy movies like The Gallows, but The Bye Bye Man manages to turn jumps into shrugs and horror into Horrible Bosses 2-level comedy. 

The most aggressively sour moments of The Bye Bye Man come in the form of poor writing and supporting actors unable to act seriously or well. While some "jokes" seemed placed, it the majority of the film's humor was most definitely unintentional. Where films like Scream are able to tell a scary story that also makes you laugh, The Bye Bye Man told a boring story that also makes you cringe. See first the "sensitive" psychic who comes out of nowhere and dresses like a Mob Wife. With her character, the viewer gets its first look at the painstaking journey they're about to embark on. The binder continues to grow throughout
The Bye Bye Man, adding a landlord who seems pulled from the street onto the screen, a brother whose plot line is inconsequential, a librarian who is possibly the only intentional comic relief (it's spotty) and then the wife of a past victim who proves to have little purpose. All of them perform equally bad- whether through poor writing or questionable skills.

One of the film's final straws is pulled with the needless and off-center remark noting the Columbine shootings. Despite being nothing like the tragedy, the creators of The Bye Bye Man seemed all too comfortable candidly throwing around the event without offering the plot points, class or tact, necessary to do so. Even aside from the political incorrectness of the issue, the remark comes out of nowhere and like the viewing of this movie, is a painful experience.

Ultimately, you could go through and list all of the movies The Bye Bye Man tries to emulate, but that list (including films like It Follows, The Babadook and Final Destination) would be exhaustive and unrelenting. In the end, The Bye Bye Man is like that kid who never brought a pen to class. He shows up, deeply unprepared and ready to disrupt other students, or in the case of the horror genre, the work done by the amazing horror movies of 2016 (see Lights Out, The Witch, The Autopsy Of Jane Doe, etc.). The Bye Bye Man, like the unprepared student is good for the occasional laugh, but sometimes you have to wonder if it causes more harm than good. I'd give this movie nine out of ten stabs to your face, but only two stars out of a thousand.