Indisputable: Best Horror Movies of the 2010’s

A couple years ago I did a 30 horror movies for 30 days of October in celebration of my favourite “holiday” – Can you guess it? – Of course it’s Halloween. Part of being an individual with eclectic tastes involves constantly changing your mind, so in lieu of making an entirely revised “top-10”, “top-30”, “top-whateverthefuck”, I’ve decided to instead try and narrow down my list. I’m also attempting to celebrate the plethora of new voices and visions emerging in this dynamic genre while not feeling bad for excluding my favourites and classics.

Note: This list came at no easy lengths, as I watch the purposefully bad, downright terrible and truly disgusting. As any great horror fan knows, a true gem is a rare find indeed, the right combination of scares, tropes, music and atmosphere – among other criteria. For every one of these films there are at least 5 crap-tacular films which isn’t to discredit those that were so very close, the ones that could have been but just failed to ultimately deliver the goods.

In no definitive order, here follows the (indisputable) best horror films the last 5 years has to offer:

Evil Dead (2013) – Fede Alvarez

A great tip of the hat to the original

My expectations were as high as any other die-hard Evil Dead fan. In fact, when this was announced I almost decided to boycott the film entirely. After all, why try and improve upon perfection? But this film really surprised me – It had great scares, great over-the-top gore, and just enough homage to the original that it was a delight for any fan of the original. This film managed to straddle the line between delightful pastiche to the original, while keeping it fresh and unique unto itself. It also managed to expand upon the Evil Dead Necronomicon mythology without stepping on too many shoes.

The Sacrament (2013) – Ti West


Most film buffs have giant boners for Ti West and I’ve never ever been one of them. I hated House of the Devil and despised The Innkeepers possibly even more. Now that being said, this film is characteristically Ti West. I guess the format of his films finally seemed to fit for me in this project, rather than in the pseudo-throwback used previously. This often just came off gimmicky and cheap to me. West’s characteristic slow-buildup worked perfectly in this film, which follows a film-crew as they enter an unnamed country attempting to research an elusive cult. It’s also quite masterful in the telling how such little outside influence managed to destroy the foundations of the entire congregation. The slow buildup of course, implodes into an exciting and violent buildup – I say this was West’s best work to date, taking his “signatures” and signing a work that is original instead of his usual throw-back to a decade of film long ceased.

The Cabin in the Woods (2012) – Drew Goddard


Possibly the most paused scene in the film

This movie speaks for itself. Joss Whedon broke everyone’s brain when this was released and horror-nuts rejoiced. Actually, even non-horror fans rejoiced. This movie is just great. It subverts a genre while simultaneously embracing and celebrating everything and anything horror. Just the right mix of horror-comedy without being campy or bridging on lame, this movie had it all : hot babes, stoner comedy, zombies, the unicorn, secret societies, gore, violence and the end of the world (?). This tops almost everyone’s list of Top horror films of the 2010’s let alone top horror of the last decade, and some even arguing top horror EVER. There are tons of pages out there dedicated to spotting the tiniest of nerdy detail from the mise-en-scene, and as such this film instantly garnered a massive cult following.

V/H/S 2 (2013) – Assorted


Just…watch it.

While there was the first V/H/S and the newer V/H/S: Viral which both have some notable submissions, V/H/S 2 really throws it out of the park. Following the faux-snuff anthology format from the first film this one went into hyperdrive. It’s like the first one going down the highway 200KM/ph and nailing a sudden turn in the road – while viral stopped short, for example. Of course the entire thing came to a jaw-dropping climax during Gareth Evan’s “Safe Haven” – which perhaps is my one complaint during the entire thing, because they should have ended with this beaut. I feel sorry for the poor bastard that came after because I barely remember it. I doubt it was a weak spot or anything, it’s just… how can you compare to the balls-to-the-wall ridiculousness that just went down? The best anthology film of the early decade, but not the biggest, 2012 had The ABCs of Death which had some great contributions but as a whole failed to deliver.

Sinister (2012) – Scott Derrickson


The opening sequence.

While not terribly original necessarily, a very admirable and well done additional to any ghost/demon themed horror movie. It’s got all the usual tropes – a mystery to solve, faux-leads, twist ending, jump scares, etc. – but nails them all perfectly. My favourite of all these was the jump-scares which definitely had me tensing pretty hard, and even had my boyfriend asking me to walk him down the hall to the bathroom afterwards. A nerd’s note: the sound design was also very interesting in this film, as displayed most strongly when Ethan Hawke’s character is watching the old tapes but also in that freaky scene where the children’s ghosts are running around silently in the dark, bounding in and out of shadows. The sound design in itself was responsible for some of those jump scares I mentioned earlier, while simultaneously it was the lack of sound in some of the murders which made them all the more disturbing to watch. Apparently there is a sequel coming out soon, but I doubt it could be as good, as it has minimal involvement with the original crew, which is never a good sign. I’ll still watch it though.

You’re Next (2011) – Adam Wingard


Same-same… or is it?

Any favourite horror movie of mine will either nail a genre right on the head, or else subvert it – playing off your expectations, literally using your expectations to gain a certain explorative power over you as a viewer. This film is the latter. It uses your expectations for a typical “home-invasion” type horror thriller to pull off it’s twists. While I normally derive this genre of horror film, such as, infamously, The Strangers (2008), this film excelled by subverting viewer expectations, taking a new, powerful approach to the genre altogether. I would consider that a success.

The Conjuring (2013) – James Wan


A movie so good it sparked it’s own – albeit crappy – spinoff, Annabelle (2014). I chose this one versus Insidious (2010) and the sequel because, although James Wan really kills it in both (literally and figuratively, natch), The Conjuring managed to take everything that makes James Wan an excellent horror director and roll with it even harder and without remorse. My favourite thing about Wan as a director would have to be his use of pace – there’s no slowing down in this film, no unnecessary leads, and no time wasted at all. There’s a problem – okay let’s deal with it – instead of going through the typical motions of denial and doubt. Wan also manages to artfully employ just the right amount of comedic relief at just the right time, almost exclusively to keep you from having a heart-attack from the tension. His biggest success is my favorite in the jump-scares though, as the most frightening moments happen when you most expect it but almost always from a direction you are least suspecting it – think it’s coming from in front of you? It’s above you. Behind? Below. Beside? Infront. This never fails to give me a huge jump. Can’t wait for the sequel of this bad-boy to come out either.

Kill List (2011) – Ben Wheatley


No surprises here: I wrote a post a few years back about this being one of the best horror movies of 2011, it still is and clearly extends to the 2010’s.  I’m not sure what’s left to be said about this movie that is at times relentlessly violent, disturbing and at times even humorous. A new take on an old classic: cults, this film will leave you deeply troubled as the ending comes to a cataclysmic, disturbing conclusion. Although somewhat depressing, there are many small details that are worth entailing a second viewing, and memorable moments seared into your mind whether you want them to or not. Powerful visuals and strong story telling come together to make this an exceptional horror film.

The Skin I Live In (2011) – Pedro Almodovar


A ceaseless, unrelenting, non-stop thrill ride that somehow ends on a more disturbing note than it began. This is a film you cannot look away from – the storytelling is masterfully woven together in a non-linear fashion and Banderas plays a perfect psychopath, who is twisted, cruel and at times even sympathetic. This was the Antichrist (2009) of 2011, in that everyone had something to say about it. Mixed with artful cinematography and a touch of science fiction, this is a truly unique film – something that has never come before, and I would employ anyone to try and come afterwards.

The Babadook (2014) – Jennifer Kent 


Quite arguably the most talked about horror movie of the year, The Babadook came out with a big splash. Things seemed to have quieted around the film recently, but if you’ve seen the film, the shadows surely haven’t. This film is deeply psychological and extremely sympathetic – a great testament to loss, grief and melancholy as a mother and her son try and cope in the wake of a terrible catastrophe. The main protagonist comes in my favourite form of power – the acousmatic: that which we never truly see the figure, we are only given hints to it’s appearance, and can hear only through what can be described as a disturbing guttural groan. As far as I know, it’s never been done before but I have a feeling children’s storybooks may become a new trope in horror.

Oculus (2013) – Mike Flanagan


One of my personal favourites, Oculus is a wonderful mix of surreal, absurdity and hallucinogenic realism that you never truly know what is happening to our protagonists until the very end. The film literally keeps you on your toes, and starts to make you feel very near well mad by the end. I’ve never seen a horror movie with such a great pace, diving into the action only to give you some backstory interspersed throughout the action, all climaxing simultaneously. This movie was a wonderful combination of all that I love in a horror movie: mystery, a bit of blood, jump scares, and madness.

What do you think? Did I miss anything? Disagree?


Sebastian Silva and Michael Cera Make Magic in 2013

It’s hard enough to imagine producing and filming one movie in a year as an independent filmmaker, but two? Somehow, Sebastian Silva managed to accomplish that in 2013 with his two widely different films Crystal Fairy and the Magical Cactus and Magic Magic. The two films have similarities in that they both are based in Chile – Silva’s country of origin, both star Michael Cera, and both focus on different anxieties of travel and growing up. However theme and tone between the two could not be more polar.

I’ll begin with Magic Magic as I watched this one first. I’ve recently developed a huge girl crush on Juno Temple, as I think she’s an immensely talented if yet still underrated actress on the rise. So while creeping her ouvre I came along this film. And while the rating was low, the cinematography from the trailer alone was enough to entice me into giving it a shot.


I found the colour composition and symbolism in this film to be extremely beautiful, and possibly the best quality of this film altogether. The film follows Alicia’s first time travels to Chile to visit her cousin. She finds herself at odds however, by loneliness, an inability to connect with the new people she’s meeting and a increasing detachment from reality. At the same time, can you blame her? Cera does an amazing job at being a creepy weirdo in this film. A role I haven’t seen him play before without some kind of comedic undertones. This is just plain creepy. Would you want to be friends with this dude?


I feel as if the film’s failure commerically came not from a lack of plot or any other significant short-coming on the filmmaker’s part, but rather the classic mis-marketing curse. The film’s trailer displays this as one of those “is she crazy or is there some sadistic cult happening?” thriller-mystery-dichotomy movies. It is anything but. In fact the film is pretty straightforward in it’s approach to Alicia’s mental state: she is not well. But character’s such as Cera’s Brink are not helping the situation, certainly. If you’ve ever known anyone with a delicate mental state, or even just traveled yourself and felt… culture shock, or complete detachment from your surroundings this film will possibly move you.  It also ends on a fairly ambiguous note depending on how you wish to interpret it, which I could see as a sore spot for the more conventional cinema lovers. I, however, revel in a film which is challenging, and especially films in which I may hate the ending. They force you to really think about why the conclusions upset you.

The second film, actually made first (in fact, Magic Magic was being funded while this movie was still filming, Cera also apparently learned Spanish on set), Crystal Fairy and the Magical Cactus a much more light-hearted and fun move. I had a debate recently with a friend who had also seen the film, and absolutely hated Cera’s character, Jamie, in that they felt he was misplaced. I could see this point of view, I, on the other hand, loved him in this role as well as in Magic Magic in that he seems to be breaking out of his regular awkward shy guy character-archetypes. It seems natural however that viewers will either love him or hate him.


As mentioned the film follow’s Jamie as he travels through Chile. At a party he meets the overtly hippy American girl who introduces herself as Crystal Fairy. He drunkenly decides to invite this girl along on the road-trip he has planned with his buddies he’s met in Chile: A trip to find and consume the magical cactus peyote. The film quickly becomes a battle of personalities between Jamie and Crystal – One is a wound up impatient dude, the other a laid back “spiritual” girl. I actually found both character’s to be highly unbearable in their own ways: and I think this was the point of the film. Neither of them are “right” and neither of them are “wrong” but they learn how to love and accept one another, thanks in part to the peyote, of course.


My favourite part of the film is when they finally consume the magical drug. And if anyone has ever done any psychedelics before will be able to relate to the events that unfold: a total breakdown of normal thinking, becoming totally vulnerable, being entertained by the smallest and seemingly most wonderful things, a breakdown in simple cognition, and, naturally, a strong desire to get naked. The film is a wonderful story in which the two character’s learn to appreciate and understand one another when they let go of an overbearing facade, and actually let their vulnerability show, to which they are ultimately both shown love and support.

I found this film to be less striking visually, as well as less shocking, but thematically more approachable and enjoyable. In the end it’s almost a take on the classic road-trip movie, as they’re not the same people who started on the trip to begin with.

Now my only query, or perhaps concern with Silva’s two films is that as a Chilean director, other than locale, the films have essentially nothing to do with Chile. The Chilean characters that are interspersed throughout both films often come off as flat and static. Not a whole lot of culture is engaged with. This doesn’t seem purposeful so much as negligent, as these actors are unable to come out of the shadow of the Hollywood counterpoints. Even Catalina Moreno, in Magic Magic, a very well recognized actress comes off as little more than a background bitch.

Either way, I see Silva as a very promising director. Not perfect, but I am excited to see what else he has to say about our generation, and what other films he wishes to pursue. Because so far based on these two films, he’s willing to take on some pretty interesting topics (travel, insanity, drugs, identity, etc) with surprising restrain and maturity.

In review: Mama


So I went and saw Mama directed by Andres Mucshietti, the newest production by Guillermo Del Toro. Based on the other films I’ve seen in this kind of relationship, for example The Orphanage or Julia’s Eyes I was expecting creepy creepy creepy! And yes that’s what I got.

However, that being said, I also didn’t expect this film to be so cheesy in parts. The audience was laughing in multiple scenes. As was I. My friend who I saw it with even pointed out that there were several parts where he fully expected “Thriller” to come on and for the actors to break out into Michael Jackson dancing. That would actually make a great rule to the whole drinking game thing I love to do in horror movies, so add that to the general list of rules for this particular film.

The film has no gore, so to speak, and lots of creepy “ahhhh!” moments, which I am happy about as, although I love gore, we all know its not particularly frightening.

I also appreciated the fact that this film didn’t strive for a 100% happy ending, but I wont say anything other than that as that would give away too many spoilers.

My only problem with this film is that there was no REAL mystery. We see the “ghost” straight off the bat, so we basically know her deal before it even begins. There’s no contest that this is a ghost we are dealing with. The whole exploration and delving into old files, that are obligatory, with any horror movie seems forced and unnecessary. The entire back-story was forced and definitely nothing new. And to be real for a moment the ghosts “portal” into our world looked like a bloody vagina on the wall. Not scary, just funny.

To be honest, the trailer for this film was more terrifying than the film itself.

In conclusion, while this film brought some good spooks it was still dealing with an old genre, a tired one that has been played out now. I think it’s time for something fresh and new, outside of children and ghosts. I don’t know what that is, but when I see it we’ll all know from a stellar review. Although it may be a while yet as it seems we are still dealing with the 3D craze and old genres. 2o12 was a seriously disappointing year for horror, if this is a glimpse of things to come in 2013, then I’m not hopeful. Oh well, if we all play by my drinking games it will be a drunk year at the very least.


Kill Your Idols: A Lesson in Elitism

Strolling through Netflix I came across this documentary and decided to give it a quick look considering it spouts Yeah Yeah Yeahs on the poster, and I happen to love them.

I was pretty disappointed in the film, honestly, and I should have known better as I’m usually disappointed with almost every single music documentary I’ve ever seen. I think the clip from Futurama adequately sums up the vibe of the film very well.

Basically, it was a film in which old rock-n-rollers, who don’t want to be called rock-n-rollers, bash bands because they have more talent than they did; Insult them for being sell outs in being successful; criticize our generation for being less original than they were; and have the bands inter-insult one another: “Yeah yeah who?” Says one burnout who utters “fuck” every second word.

But don’t they see the irony in these kinds of statements? Every single generation feels they are the ultimate culmination of all that came before them and that could ever come after them. Hence the old stereotype of parents wanting their children to “turn down that racket”. These old “originals” can’t seem to understand that they’ve essentially turned into the thing they were initially rebelling against. And if there’s one thing I can’t stand, it’s hypocrisy.

These are people, from bands essentially wiped from human memory because of their anit-everything stance, including how to actually PLAY instruments. From where I stand, these 1970’s no-wave pioneers have absolutely no say in their criticism of music. Sure their stance was undoubtably original, and it hasn’t been done since, because now people actually take the time to learn how to play music, for enjoyment and entertainment. This kind of political-socio-eco-cultural art wave of music can only go so far. It literally has a limit before it even starts. It’s like those movies you see in art galleries: Where you only need to see about 30 seconds before you get the gist and understand the general message.

They problem with music documentaries is that they’re always from a moment, a small wave of people and a scene in which “you had to have been there to understand”. Its a veiled elitism. And they don’t even realize they’re doing it.

The critisim from both past and present performers was on a general restlessness of society. But what I find insulting is this idea of the masses as a faceless, social blob of zombies that have absolutely no thoughts for themselves. I don’t listen to the Yeah Yeah Yeahs or any music for that fact because an advertisement, or a magazine told me to. I listen to music based on an aesthetic quality. Is that so bad?

Even for people who listen to Lady Gaga, Rhiana and other pop music performers, what is the problem? Sure much mainstream culture is spoon-fed consumerism which I think is where their argument should have been aimed at rather than neo-art-punks, but at the same time, that music is still designed to be aesthetically and widely pleasing.

What this documentary did was essentially destroy the idea of music for enjoyment. Music for escapism. Music for fun and dance. Because aparently such engagement with music is wrong.

I think Gogol Bordello said it best though in the film in that, the new generation is going towards a new nihilism, a happy nihilism. I prefer that vision a lot more than just assuming everyone is a zombie, eating the brains of corporate manipulation.

In Review: Silent Hill Revelation


The Events: I got to see this movie on Thursday thanks to a pair of free tickets scored from a friend for an advanced screening. However, if I had actually paid money for this movie I would be pissed.

Which is not to say that its that bad however… but actually it is. I’m at a total loss of words actually, as I’m stuck between thinking that maybe the makers knew how bad this movie was and it’s just a big joke, or else it was a serious attempt which is much worse.

Evidence for the Jury: The usual scares are there, pyramid head, the nurses, Dahlia – whose botox face is actually more horrifying than any of the monsters. And some new friends: a mannequin head monster, Carrie-Ann Moss as an albino witch lady, Malcolm McDowell as a crazy old guy. Oh and a new death for Sean Bean (maybe, maybe not? Third movie?)


(She’s never looked worse, not even as Trinity in the Second and Third Matrix movies…That’s dedication to her art though.)

What I will say in its defense, is that filmed in style of a video-game was quite a successful tactic. I kept picturing myself in certain situations and thinking about how I would tackle the threat. A good method for a video-game inspired movie if you want to sell more of the video game…

In closing, the final verdict: This movie was little more than a high-budget, cheap thrills cash grab that was not very frightening at all and riddled with plot holes. As one of my friends said as we were leaving the theatre, they had such a high budget but “they forgot to hire a writer”. The sets are a good backdrop for Halloween though, and if you honestly want a laugh on the 31st go and see this for lack of any other good horrors, or else just wait to stream…

Grabbers: Junk Cinema, Cult Following

Vancouver International Film Festival 2012 Review:

The little Irish film with a genre-blending combination of horror, science fiction, and comedy, Grabbers (2012), is an engaging cinematic experience. Directed by Jon Wright, the plot is reminiscent of any great B-movie, beginning with an alien ship that crash-lands onto a small island off the coast of Ireland. The aliens, a grotesque octopus-squid type hybrid, are vampiritic and feed off human blood. An unusual twist pervades, however, in that the protagonists soon discover an interesting factor, crucial to their own survival: the aliens are allergic to alcohol. Drinking the blood of an intoxicated person can seriously harm or even kill them. We then watch in joy as the cast enjoys party-therapy for survival against the aliens.

While “Cinema of Attractions” is a film term generally reserved for the earliest moments of film, as explained by Tom Gunning, B-movies can also arguably be considered a cinema of attractions. They are meant to be outrageous spectacles: they have quixotic plots, exceed genre expectations, include tropes like monsters, beautiful women, fast cars, etc. Truly, these are films that, rather than trying to delve into deep social or emotional subjects, aim primarily to achieve their effects through physicality and audience participation. In Grabbers, the attraction first comes from the B-movie expectations, then from specific genre expectations linked to science fiction, horror, and comedy. The audience is intrigued, or “attracted” to the genre blending, which, combined with group viewing pulls spectatorship into new territories.


The film ties into another movement in cinema related to the trope of alien invasions. Prior alien films were more often than not a grand and overwhelming scenario in which the invaders were determined to achieve global domination or extinction of the human race. For example, The Day The Earth Stood Still (1951), The Thing (1982), Independence Day (1996), and Cloverfield (2008) are just a few titles from a plethora of films that follow the formula. With Grabbers, however, the focus has moved from the global towards the parochial and domestic. The alien has moved into the role that ghost figures have traditionally played in films, often invading our homes and our favorite locale in town. It takes a community to work together to take the intrusive figure down.

We can look at Grabbers as a perfect example of this shifting trend, along with contemporary films like Attack the Block (Joe Cornish, 2011) from England, and The Watch (Akiva Schaffer, 2012) from the U.S.A. Each film follows a certain formula, in that they all deal with alien encounters, however, each film also inserts their own cultural twist. Attack the Block revolves around a group of young ruffians who band together to save their block from the aliens. Here they are playing off the “Angry Young Men” convention that has been prevalent throughout English Literature and film for the better half of a century, but turns it on its head: instead of remaining angry and causing trouble, they put their collective energies together to defeat the invaders. The Watch is similar to Grabbers, however, in that it blends comedy into the equation. The Watch takes the same theme of neighborhood invasion, but instead centers the film around a giant Costco super-market. This points to the great importance that consumerism holds in American culture, especially as the final showdown occurs within the store walls. Grabbers, on the other hand plays on the stereotypical inebriated Irish image, but uses it in an unusual way, in that it comes to be a crucial part of the community’s survival. What all these films share in common is a need to use and comment upon cultural stereotypes. While not always perceived in a positive sense, it is these stereotypical elements that come to be exactly what the community needs to stay alive and defeat the invasive threat. In using these cultural tropes the films are re-appropriating negative cultural aspects and making them positive. For example, in Grabbers, the entire town bands together in strength against the aliens, by barricading themselves inside the local pub and getting completely inebriated. These films use alien invasions as a medium to defend and re-evaluate social stereotypes.

Through the use of B-movies, genre blending, and audience participation, Grabbers has built the foundations to be a movie with a cult following. The film drew in a large crowd, and did not disappoint in its use of horror, science fiction and comedy. All of these elements came together to kindle physical interactions with the film. The eccentric plot drew in a crowd that largely enjoyed physically interacting with the film in a sociable environment. Part of the enjoyment came from reacting to the spooks and uncanny elements of the horror and science fiction genres, but it also came from the comedy of re-appropriating social stereotypes. The invasion genre is advocating a cultural need for communities to work together against adversity whether interstellar or other.

A Horror Movie So Bad, I’m At A Loss For Words…

It’s been a long time since I’ve posted anything, thank you school. A special shout-out to the 400+ words of Marcel Proust’s modernist French classic, Swann’s Way and the amazing but utterly dense word stylings of my beloved Simone De Beauvoir in her Memoirs Of A Dutiful Daughter.

As I’ve written, it’s my “thing” to put on a horror movie and study for my science class – Yay Rocks! Recently, however, I put one on and I have not watched a single horror movie since. I’ve literally switched to rom-coms (gasp) and a few Pedro Almodovar films. Side note: The Skin I Live In was so utterly amazing, and a hell of a lot more creepy than the film I’m about to discuss. But I’ll save that for another time.

Have you ever seen one of those films, that just makes you feel uncomfortable, and sick? I don’t take this lightly, and I consider myself to be a well seasoned pro when it comes to gore, grime and gruesomeness. There’s always been the one genre that has truly annoyed me. Torture Porn. I’ve never seen Hostel and I don’t plan to anytime soon. Sure I’ve seen every single Saw movie but I mean… Those are SO over the top and unbelievable that its easy to laugh and gag and look away. What bothers me is this wave of highly realistic torture movies that have absolutely no relevant message that I can find.

The movie I watched was called Dread (2009, Anthony DiBlasi). Based on the imdb description:

Three college students set out to document what other people dread most.

I figured, ooh, ghosts, demons, murderers! How wrong I was. Apparently based on a short story by Clive Barker, this film does not exactly remain true to the story as I’ve heard. This is basically smut. It’s got the gross yellow lighting that tends to make everyone feel uncomfortable:


Absolutely everything that happens to these people, does not deserve to happen to them. Everything that these people do is completely and utterly stupid. The tortures don’t even make any sense…Eat this piece of meat… OH NO! And really? No one that ended up in the hopsital tells anyone about this crazy fucking asshole that did this to him, and where he lives because they’ve all been there?? UGH!! I’ll save the woman I love by going by myself to this crazy guys house. I could call the police and she’d be free today, but no I have to be a hero. Such obvious and plain ridiculous plot holes riddle the film.

I feel the story was meant to be a deep psychological exploration, with maybe a twist ending, but this just felt deranged and not in a good way. I love my derangement and this just made me mad. Its just like the move Martyrs (2008, Pascal Laugier)… does anyone really enjoy pure torture? I like my violence to have a little humor, a little fun, or at least a whole lot of scary. These are NOT scary films, they’re uncomfortable and disturbing in their verisimilitude. I’d better be a little bit more careful about what I choose in the future.

My love of horror has not been dampened completely, though. I did see a wonderful little Irish sci-fi horror flick for the Vancouver International Film Festival which I will be writing about soon. I have to do a review for a film class, and so I’ll copy and paste later.

Anyways, one to avoid, as well as all the others in the Films To Die For Festival as I’ve been learning. I think I may have to do a throwback to the campy 70’s-80’s B-films I love to reignite some passion for my beloved genre.