I can’t get enough of the Hatchet franchise. I rewatched Hatchet III this past week, and it stood up as one of my favorites. But, any time I rewatch one of the Hatchet movies, I remember how much I love them! Great combination of lore, urban legend and slasher counts!
Category: movie
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Horror Cinema: The Maid
A ghost, a psycho and a blood bath: The Maid was awesome! Highly recommended!
Thongkham, Lee. The Maid, Netflix, 2020.
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Horror Cinema: Exte – Hair Extensions
Exte: Hair Extensions is a campy Japanese horror movie. It did a great job of never taking itself too seriously while offering gross-out body horror. The most unforgettable image was when a character’s tongue would grow thick with hair. Something about the idea of hair coming out of your tongue was too disgusting for me 🫣.
Sono, Sion. Exte: Hair Extensions, Toei Company, 2007.
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Horror Cinema: Don’t Knock Twice
What impressed me most about Don’t Knock Twice was its storytelling. I found the story’s premise to be a tad weak, but how it was told was thoughtful, and the characters were interesting. I wouldn’t recommend you stop everything to watch it, but I would recommend the film if you were looking for a spooky horror movie to watch on a free evening.
James, Caradog W. Don’t Knock Twice, Seymour Films and Red & Black Films, 2016 (UK release) / 2017 (US release)
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Horror Cinema: Ox-Head Village
Japanese horror movie Ox-Head Village is a good, spooky ghost story. The narrative begins seemingly impersonal, as if the supernatural events could be happening to anyone investigating a certain abandoned building, but it unravels into a personal story about one character’s journey of discovery into her past and identity.
Image from ghoulsmagazine.com I really enjoyed some of the scare-effects. My favorite was when a character would see an omen in a reflection. When it happened, there was no doubt the person was going to die.
Ox-Head Village was a good contribution to J-horror and ghost stories!
Shimizu, Takashi. Ox-Head Village, 2022.
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Horror Cinema: Anything for Jackson
I have a long-lasting love for Canadian actress Sheila McCarthy. As an Ontario teen of the 1990s, I rewatched the 1987 feminist movie I’ve Heard the Mermaids Singing countless times after-hours on the Women’s Channel. Out of all the characters I worshipped as a teenager, from Virginia Woolf’s Orlando to Angela Chase on My So-Called Life, the Girl Friday in I’ve Heard the Mermaids Singing was the most me: a quirky, misunderstood, sincere, romantic weirdo. I sat through 40 minutes of tampon and diet cola commercials for those 90 minutes every time I happened to see it. And, usually, the week after, I would dye my hair red.
More recently, Sheila McCarthy was in Women Talking, and she was her usual perfect self, but in a small role. When I saw her in a trailer for Anything for Jackson, I was excited to see her in a starring role.
I was not disappointed. Her character was weird only in so far as the tragedy in her life made her weird, and Sheila McCarthy did a great and sensitive job of portraying that complexity and nuance. The movie itself was spooky, and I really liked how it leaned into truly demonic visuals. In fact, at one point, I was scared of the imagination that could come up with them!
A strong cast of characters, jump scares and things I can’t unsee: Anything for Jackson stood up as a good horror movie. For me, where it deflated was in its ending. I understand that the fate of the protagonists was a commentary on being a servant of a deceitful savior, but I was hoping that, although they got stupidly caught up in ancient forces, they would either find a way to control those forces and become master Satanists or the forces would grant them power for being good servants. For the fact that they were the impetus for the release of the forces and that they were the heart of the narrative and movie, their fate felt very flat.
And the actual ending felt like the last thirty pages of the book were missing. I would have loved some kind of epilogue, even a crying demonic baby as the credits rolled or a creepy lullaby like in Rosemary’s Baby. For all the drama of the movie, I really wanted a more satisfying last 10 minutes.
However, despite the ending, the rest was worth it, especially Sheila McCarthy. My favorite scene was her bringing a crow back to life. I wish the story had leaned more into her discovering her power and harnessing it to become a boss b*tch. Anything for Jackson!
Dyck, Justin G. Anything for Jackson, Shudder, 2020.
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Horror Cinema: Watcher
Watcher was a slow burn. More of a psychological thriller than horror movie, the weight of the story relied on if you could hold on to believing the protagonist’s concerns about her safety in a strange land. The narrative played with the insecurities that have come with believing survivors, and the story did a good job of portraying a love interest who was both fed up with the protagonist’s incessant worrying about her safety and invested in trying to maintain her safety.
In the end, the only person who believed the protagonist came to the rescue, and, although somewhat cheesy and hard to believe, the final scene was satisfying. My one ask for the movie was for an epilogue. I would have loved to find out what happened in the end … could the protagonist forgive her lover, or anyone for that matter, for not believing her?
For raising these issues and telling a solid, thrilling story, Watcher was good for a night in with a bowl of popcorn.
Okuno, Chloe. Watcher, IFC Midnight Shudder (US), Universal Pictures, Focus Features (International), 2022.
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Horror Cinema: Talk to Me
On Halloween, I rented Talk to Me, a horror movie I had been hearing about throughout the spooky season. It’s a rare occasion when a movie is as good as its hype, and this one certainly was.
I particularly liked how the paranormal was introduced in the story, keeping the viewer ignorant of it until the protagonist discovered it. At the start of the film, I was skeptical of the party trick until I experienced it with the protagonist. And, from that point on, I was captivated.
What separated Talk to Me from other horror movies was its social commentary on addictions. The horror of the paranormal with the impacts of drugs on individuals and youth was very well done.
Philippou, Danny, and Michael Philippou. Talk to Me, Maslow Entertainment, Umbrella Entertainment, Ahi Films, 2023.
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Horror Cinema: They Look Like People
At face value, They Look Like People was not my kind of horror movie. I am skeptical of horror narratives that rely on mental instability or illness, and casts of characters made of mostly men do not interest me. I went into it with an open mind, and I am glad I did. Funnily, what I appreciated most about the film was its sensitive and thoughtful takes on mental illness, masculinity and friendship between men.
When I finished the movie, I felt like it was more of a drama than a horror movie, but I could not discount that it was scary, so I was still satisfied that it was a horror movie. Its strength was its characters, who, to me, were sympathetic men seeking to live up to personal and social expectations of what a man should be. As a horror movie, its surreal moments of the mental instability of one of the characters contrasted against the sympathy I felt for the other characters made it scary to think that the mentally unstable character would hurt them. A slow burn, but worth it.
Blackshear, Perry. They Look Like People, 2015.
