Best in Show: Horror Sequels (Part I of II)

Horror sequels get a bad rap. For horror fans, the audacity of sequels seems unimaginable and wrong. Add on a few more editions and filmmakers basically become criminals of the entertainment industry. But, when a horror sequel works, it can easily become a shining star and rather than being recognized as a standard, is instead listed as an exception to the rule. Fortunately though, for those fans who want to see stories continue on and for those hoping these stories are told equally well to the originals, options do exist and the future of horror sequels isn't dead yet. This week's list covers the best horror sequels (and two, kind of three, prequels that truly deserve acknowledgment) out there. The movies listed are direct sequels, following the original (fair note that many are more recent, given the ability to stand the test of time not typically granted to classics).




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10. Wrong Turn 2: Dead End

It's no secret that the Wrong Turn franchise is pretty trashy. But, unlike movies that get the "camp" label, Wrong Turn is criminally underrated given its exaggerated storylines and over the top acting and death scenes. Not taken seriously, the sequel to the original Wrong Turn is an impressive endeavor with a creative approach. Following a group of reality show contestants who must survive the now well-known cannibals of the West Virginia forest, Dead End is hilariously weird and offers a plethora of jump scares and laughs.

 

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9. Final Destination 2

Like Wrong Turn, the Final Destination franchise has received a lot of flak. But, with an original featuring strong performances and a particularly creative storyline, the first and its later sequels deserve a lot more credit. The sequel - which capitalized on everyone's fears of highway accidents, is particularly good as it left behind some of the more sinister undertones of the first movie in exchange for some slight exaggeration and comedy. Final Destination 2 also deserves additional points for playing with the "final girl" trope and featuring some pretty insane, while not necessarily logistical, death scenes.





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8. Ouija: Origin of Evil

While I did say I was specifically sticking to horror sequels, the prequel to the awful Ouija deserves recognition. Unlike the first's overly polished camera work and plot, Ouija: Origin of Evil is filled with personalized time pieces and amazingly suspenseful moments. Ouija: Origin of Evil is the rare follow up that completely blows the original out of the water. Not only does it ignore the mythology of the first and advantageously grasps its prequel setting, but Ouija: Origin of Evil offers truly terrifying scares. The one question it'll pose viewers to ask is: "what original?"





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7. Paranormal Activity 2

There's something about the second Paranormal Activity film that is especially starling. Like the viral success of the first, Paranormal Activity 2 utilizes the relativized home security cameras. Unlike the first though, the action and dialogue of this sequel is packed with far more action. From spooky childhood stories to actual movement on camera, the somewhat predictable sequel is truly terrifying; it's larger budget and gathered collection of faith propelling it to success. Paranormal Activity 2 deserves more given that it literally surrounds the events around the first and builds on the mythology, providing everything the filmmakers needed to make a larger franchise,



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6. Insidious: Chapter 3

Okay, so the first part of this list actually has quite a few prequels on it. I assure that this is the final one and while there are a lot of prequels that deserve to be seen and received, this list is definitely about sequels. But, unlike the direct follow ups of Ouija and Paranormal Activity, it is the third film in the Insidious franchise that deserves some attention. Insidious: Chapter 3 is a truly terrifying adventure, following a rather tepid sequel and building on the first's concrete mythology. And, while each follow up to the original has been less well-received, Chapter 3 was a refreshing return to the basics, featuring all of the horrifying shadowy figures and panned scares that drew in viewers in the first place.

The Overlook: They Look Like People

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Anyone who's ever been in any type of school knows what it's like to do the majority of the work on a project. So considering the immense amount of work and time required to create an entire film, this undertaking would seem unimaginable for most. For Perry Blackshear though, writing, directing and producing a particularly good thriller, seems to come easy. The Look Like People is undoubtedly deserving of audiences time, given the amount of effort that must have gone into its creation.

Following close friends who reunite in New York City; The Look Like People is a psychological mind bender. MacLeod Andrews (Tuesday Morning) stars as the downtrodden and possibly disturbed Wyatt and Evan Dumouchel (40 Days and Nights) plays as Wyatt's friend, Christian. Throughout the film, Wyatt is troubled by his belief that humans are being replaced by other worldly creatures setting the stage of the apocalypse. The movie mostly plays out in Christian’s apartment where they try to resolve the potential doom of humanity and figure out what is real and what is not.

They Look Like People has numerous twists and turns and despite being somewhat guessable, maintains a sense of suspension. When the two men are trapped in Christian's apartment and Wyatt begins to break, you feel for both characters whose lives are being turned upside down by some dark force, whether it is real or supernatural. Even when Wyatt makes actions that would deem him villainous, it's hard to root for his downfall, after all he's recently broken up with a girlfriend and is clearly going through some crisis. This is where They Look Like People works best- discovering the humanity underneath the chaos.

If every movie has its flaws then the flaws of They Look Like People are hidden well. Sure, with an obviously smaller budget, some choices were limited, but even somewhat lesser-known actors and a few muddled moments can't sink this ship. It's the type of movie that while sometimes confusing, makes sure to wrap back for its lost viewers by the end. They Look Like People is a knowingly weird film, but it's also unsettling and will easily draw in art-house and horror fans alike.

 

 

The Overlook: Last Shift

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It's rare to find an indie horror movie on any streaming site that is truly nightmare-inducing. Sure, modern indie hits like The Babadook are terrific, but they're well known and often mentioned. But, for small name movies with niche audiences, the fact remains that these outlier films are rarely scary enough. Never fear though, because there are still options oft overlooked and if you haven't Last Shift is definitely worth the watch.

Last Shift deserves far better than the hand it was dealt. Easily one of the best horror movies on Netflix and most definitely one of the better overall in recent years, Last Shift follows a new police officer as she watches over a recently emptied police station. As the only officer on duty, the strange occurrences that take place during the film feel especially bone chilling and with ties and inspiration drawn from cults like the Manson Family, this film offers plenty for all horror fans to enjoy.

Last Shift rests nearly all of its weight on the shoulders of its lead actress, Juliana Harkavy (The Walking Dead), who plays the titular and somewhat troubled officer of the law, Jessica Loren. Harkavy does incredibly well given the fact that she is constantly on the screen. Her ability to capture fear in her eyes and win over viewers- even those that are typically apathetic toward horror victims. Even with the assistance of a believable supporting cast, the undeniable fact is that Harkavy is the core and breath of this film.

Attempting to continue her slain father's legacy on the force, Jessica's confidence and pride often conflict with the fears before her eyes, making for an extremely solitary and terrifying time. Last Shift provides every kind of scare horror fans could hope for. From atmospheric and jump scares to terrifying moments of trickery, Last Shift was made with no higher intention. It is gritty and dark and most definitely a straight up horror film.  

Last Shift is a suspenseful and startling horror masterpiece. It is far more deserving of recognition and does what any horror movie could ever hope to do, and provides consistent scares intermingled with a fine storyline. It's one of the best films streaming on Netflix and if you haven't, you need to see it. Last Shift offers everything and more.

 

 

Review: Beyond the Gates

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There's no shortage of 80s-inspired horror movies. These retro films utilize all of the iconography and cinematography of classics like Nightmare on Elm Street, but when effective, also take on their own form. Movies like The House of the Devil, capitalize on horror fans yearning of a time more recently exchanged for glossed over and bland craftsmanship. The recent addition to Netflix, Beyond the Gates, attempts to further this trend with varied success.

On one hand, Beyond the Gates is a terrific movie with some small scares and a plot that ties movies like Jumanji with films like The Ring. On the other hand, Beyond the Gates is either too long of a film, given its lack of action for the first hour, or too short of a film, given the universe that could easily be expanded into a series. Regardless, there is should be enough content to maintain interest, if not complete intrigue.

Beyond the Gates follows a pair of brothers whose search for their father leads them to a VHS board game with a sinister past. Far too immersive and ultimately deadly, the game soon takes a horrific turn with all the fog and lighting of the 80s leading the way. Beyond the Gates stars horror icon, Barbara Crampton (We Are Still Here) as Evelyn, the video game's narrator, Chase Williamson (SiREN) and Graham Skipper (The Mind's Eye) as estranged brothers, John and the straight-laced Gordon, and Brea Grant as Margot (Halloween II). The acting varies in strength, mostly settling for acceptable if not always great. Skipper seems unsure of how to play his character realistically, sometimes coming across as a caricature, but together all of the cast hold up.

Beyond the Gates exists in a universe that feels much larger than its result. Between confusing demon-ghost grab scenes and a random mystery store, there is definitely a larger story that could have been built to keep the mythology more clear. Frankly, if the film had spent less time on their character's backstories, these issues may have been easily supplemented, but it's hard to tell. It's never actually bad though, so the film's positives easily keep it up to par. The 80s inspiration is clear throughout and there are a few jump scares that are definitely worthwhile. Plus, the use of a VHS board game is entertainment enough to suffice.

Beyond the Gates begins as a movie that seems better suited for a short or a student film fest entry, but slowly becomes an entertaining throwback of a movie with plenty of original storytelling to offer. It's definitely short, which helps move things along, but it does feel like some opportunities are missed in its attempt to maximize on the climax. 6 out 10.

 

Review: Wolves at the Door



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Cult mania has seen a bit of resurgence in recent years, the indie hit Last Shift, which drew attention when it started streaming on Netflix, Emma Cline's The Girls, and the James Wan-produced Annabelle all featured satanic cults with insidious intentions. Attempting to build on this retro, 60s-inspired subgenre is Wolves at the Door. Recounting the true story of the murders a group of friends murdered by the Manson Family during the 1969 "Summer of Love," Wolves at the Door plays relatively close to a reenactment without much of the backstory, reasoning or tact to make it anything more than exploitative.

Wolves at the Door features former Harpers Island stars Katie Cassidy as pregnant Sharon Tate and Adam Campbell as Wojciech, Elizabeth Henstridge (Agents of Shield) as Sharon's friend Abigail and Miles Fisher (Mad Men) as Jay. Each are actually pretty solid in their roles, despite the film's shortcomings and the tasteless resulting product.  Cassidy is especially effective at conveying love and loss, and as Sharon, she brings some justice to an otherwise low-brow screen.

This movie does feature some scares, even if it is suspense-free. Swept straight out of movies like The Strangers, Wolves at the Door has plenty of dark figures bouncing around the house just out of sight of the characters. There are creepy scenes with our home invaders tapping on glass and writing on walls, but these feel really misplaced and tossed in. In terms of plot, the movie feels as though it is a brutal super cut of murder rather than a holistic film. It never really comes full circle or offers anything past the death scenes and this works to the disadvantage of the horror. There's no art or camp, and definitely no substance to whatever this movie is or could have been and when compared to superior, although critically panned film like The Strangers, the scares of Wolves at the Door feel miniscule and exploitative.

There are things that could have been done to improve Wolves at the Door. A constantly tricky subject, the recounting of real life murders in film can be a steep slope that most filmmakers would avoid. But, where other films may shoot for something more in line of a documentary or a completely changed story that only draws inspiration from its source, Wolves at the Door shamelessly shoots out and showcases the real characters' deaths.

While it'll surely appeal to some, the blatant and contrived nature of Wolves at the Door feels less like a horror movie and more of an unrelenting, dramatized sequence of real life murders. Sure it may feature some of the home invasion aspects kin to movies like You're Next and The Strangers, but it doesn't offer any of the cleverness, storied background or plot. The bottom line is that Wolves at the Door feels like a cheap façade, profiting off of others' loss without regard for the real lives impacted by the losses. There's no storyline, no higher meaning or resolve, just brutality and selfishly profited death. 2 out 10.

 

Review: A Dark Song

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IFC Midnight is now one of the divine leaders in the horror industry. The distribution company has consistently hit the mark with their recent indie releases. From The Devil's Candy to Shelley and Carnage Park, to even some of their lesser received films like Don't Knock Twice, IFC Midnight has had a string of films that are at the very least, watchable. And for horror, that can say a lot. Their latest release, A Dark Song, only continues this trend as it easily takes a spot as one of the year's best scare fests.

A Dark Song follows a yearning mother and a struggling occultist who bind themselves into a long and arduous ritual so that she may speak to her dead son. The film stars Catherine Walker (The Clinic) as the damaged mother, Sophia and Steve Oram (Sightseers) as the alcoholic, last string occultist, Joseph Solomon. Spanning over roughly a year, both actors do pretty well in their roles. Walker is especially adept at playing the sometimes disgruntled and oft over tired Sophia, but Oram is just as entertaining as the somewhat comical, but definitely disturbed Joseph. A Dark Song works, largely in part of the invested work by Walker and Oram, whose odd couple relationship is both disturbing and compelling.

A Dark Song takes its time to get moving but provides enough insight into the world of occult to maintain intrigue. From establishing rules and rites of passage to the film's final moments, the brooding atmosphere of A Dark Song is deeply suspenseful. There are numerous scenes that some may find troubling - whether observing the difficult process that Sophia must go through to open her mind or an intimate scene between the pair that feels off-center and problematic, but all of this works to propel the dark spiral that'll have viewers gripping the edge of their seat.

The film mostly takes place in the house central to the ritual's effectiveness. Featuring outside scenery and sprawling rural landscapes outside, A Dark Song is able to take full advantage of B-roll footage that fill out some of the movie's creepier scenes. Inside the house, stuffy period furniture and plenty of candles and incantations on the floor all help create a vivid setting.

A Dark Song is fantastically mesmerizing; the type of movie that may start off slower than most, but will inevitably have its audience engrossed in their screens for the final act. This movie is definitely scary; featuring all of the atmospheric pressures of more artful films like The Witch paired with moments that seem swept from more outwardly horror films like Sinister, A Dark Song deserves your attention. 8 out of 10.

 

Review: Phoenix Forgotten

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Found-footage has been at somewhat of a stand still. While much of horror fans' hatred of the oversaturated subgenre has subsided into a place of apathy, and sometimes mild pleasure, found-footage has been unable to recapture the horror industry. But, some mildly successful attempts are being made- the harshly criticized, but not actually awful films, The Gallows and Blair Witch swept theaters and attempted to reinvigorate viewers' attention to the  gimmicky, but intimate shooting style, and with Phoenix Forgotten, the subgenre proves to still have legs.

Phoenix Forgotten tells the story of three local teens, Josh, played by Luke Spencer Roberts (Hail, Caesar!), Ashley, played by Chelsea Lopez (Novitiate) and Mark, played by Justin Matthews (The Interestings), who go missing during their tapped investigation of the Phoenix Lights Phenomenon.  The film also stars Clint Jordan (Down to the Bone) and Cyd Strittmatter (Gone Girl) as Josh's parents and Florence Hartigan (Shortland Street) as Sophie, Josh's sister. The actors of Phoenix Forgotten aren't awful and actually extend the movie's appeal past what it could have been. The teens are retro-fun, mentioning films like Contact and inflecting certain lovability to their characters and the actors playing the various parents each seem invested in their roles.

Phoenix Forgotten takes a while to get going, but once it starts it is interesting and entertaining enough to keep audience attention. There's some creepy tension and scares tossed in and the degradation of the teens' spirit is compelling enough. The movie is especially propelled by its alien lore and true-life backstory; something that it takes full advantage of. There's amazing abduction sequences and plenty of crazy-in-the-dark moments, too.

Like a desert-themed Blair Witch Project, the premise of the film follows near-exact lines except for a modern day documentary in production simultaneously with the discovery of the disappeared teens' tapes. This point of view, following Sophie, is never clearly laid out or concluded. When the final tape is revealed and plays out over the screen, that is the film's ending and we never discover the results of Sophie releasing the tape or whatever was supposed to happen. This is problematic, not because it could possibly open up to an unlikely sequel, but because while the final scenes are entertaining, they could only be considered a proper ending if the modern day storyline had some sort of final moment, as well. This is definitely the film's biggest failure. Even with too strong of similarities to The Blair Witch Project, a lot of this movie comes undone, not by a lack of scares or compelling storytelling, but because the ending feels blank and incorrect. This may have been the intent of the filmmakers, but it doesn't stop it from feeling off.

Is Phoenix Forgotten amazing? Certainly not. But, for a film that seemingly popped out of nowhere, it's a fun, intro-to-summer flick. It's got a lot of things that work and some pretty hefty things that don't, but there's enough to keep it moving along. Phoenix Forgotten doesn't deserve any point for originality, but it doesn't need to be decimated by its copycat result. It's a simple and fun found-footage horror film that people should consider, because while enjoyable, the fact is, Phoenix probably will be forgotten. 5. out of 10.