Is it Horror? | Red Dawn (1984)

Is it Horror? | Red Dawn (1984)

Even when contextualized as the product of a gung-ho America juiced by patriotic fervor, some aspects of Red Dawn have not aged well. The film’s take on masculinity is so potent, you can practically smell the testosterone (yes, Virginia, it smells like victory). After they bag a deer, Matt and Jed encourage their buddy Robert (C. Thomas Howell) to drink its blood so he can feel its “spirit” and be “a real hunter.” The group handles their newfound weapons with astonishing ease, as if they’ve been firing bazookas since birth. Following the death of friends and loved ones, the young men are told to resist crying and turn their emotions to anger. It’s a wonder they don’t don animal skins and go full-on Lord of the Flies.

House (1977)

House (1977)

This is the kind of movie that you might dream about making when you're eight or nine and have figured out that movies don't just happen, but they're made. Before you have any kind of regard or understanding of act structure or traditional storytelling. It’s a radical descent through stratum after stratum of artificiality that consistently left me wondering at every turn whether what I was seeing was real. Is it real to the characters or are these young fabulists taking me on constant detours through their own subjective experiences and imaginations?

Bride of Frankenstein (1935)

Bride of Frankenstein (1935)

In total, in the sum of its parts, Bride of Frankenstein pits the sacred against the profane. It shows us both the ridiculous and the sublime, sometimes in the same frame. The prototype of the Hollywood monster is entranced by the strains of Ave Maria played by a blind man on his violin. By another who is afflicted, the mute creature is taught to speak, and from thence to express his fundamental, elemental desires. And in the last reel, we see those desires satisfied in deleterious ways when they are unreciprocated. Because, as Dr. Pretorius explains, the human heart is more complex than any other part of the body.

Is it Horror? | Sarah Kane's "Blasted" (1995)

Is it Horror? | Sarah Kane's "Blasted" (1995)

BLASTED is not an easy watch. The play’s 1995 world premiere, at London’s Royal Court Theatre, was met with outright derision. The Daily Mail called it “a disgusting feast of filth.” The Independent likened the experience of watching the play to “having your face rammed in an overflowing ashtray for starters, then having your whole head held down in a bucket of offal.”

Is it Horror? | Society of the Snow (2023) and The Impossible (2012)

Is it Horror? | Society of the Snow (2023) and The Impossible (2012)

It’s impossible to overstate the popularity of disaster films in the mid-to-late-1970s. The Poseidon Adventure (1972), The Towering Inferno (1974), Earthquake (1974), The Hindenburg (1975), Black Sunday (1977), the Airport series (1970, 1975, 1977, 1979) and others were huge box office draws, with star-studded casts: Paul Newman, Faye Dunaway, Burt Lancaster, Shelley Winters, Dean Martin, Charlton Heston, Jack Lemmon, George C. Scott, James Stewart, Gene Hackman, Jacqueline Bisset, Steve McQueen, Ava Gardner, George Kennedy, Olivia de Havilland — all showed up to have their worlds rocked.

Is it Horror? | The Zone of Interest (2023)

Is it Horror? | The Zone of Interest (2023)

It was with no small amount of excitement that I anticipated Glazer’s latest, ten years on from Under the Skin. The Zone of Interest is a German-language film set in Poland during World War II, as far from the sun-drenched Cockney mafia of Sexy Beast as you can get, and miles removed from the austere Manhattan winterscape of Birth. But that’s fitting for Glazer, whose work regularly defies categorization. After casting Natasha Romanoff as a man-devouring extraterrestrial prowling the streets of Glasgow, an adaptation of Martin Amis’ 2014 “zestfully profane, obscene, and scatological” best-seller seems as logical a move as any.

The Mephisto Waltz (1971)

The Mephisto Waltz (1971)

Frankly, it's not hard to see the similarities between the two, between Rosemary's Baby and The Mephisto Waltz, or at least the imprint of one on the other. We've got this educated passing for sophisticated, sufficiently urbane couple, and they're drawn in by a pair of Satanists of indeterminate age, and then they get involved in magic that benefits the Satanists more than the sweet young couple. So it's a little bit Faustian, but it's got jazz hands.