Category Archives: Films
A Cure For Wellness
Director: Gore Verbinski
When you think of gothic fiction, you often think of dark and dreary castles, usually hiding unspeakable horrors. You might think of a plodding, surreal story that doesn’t try to frighten you so much as it intends to unnerve you. You’ll surely think of dark secrets, madness, and a sweeping romanticism that is hard to pin down but is unmistakable. While it might not necessarily appear to be as much at first glance, A Cure for Wellness is a modern gothic fairy tale, with all of its trappings.
Lockhart is enjoying his new, powerful position at his company when he’s unexpectedly sent on an unconventional mission: to reclaim one of the main board members of his company from a foreign spa center in time for a company merger. He begrudgingly complies, assuming that this will be an easy retrieval. When he’s met with resistance from the wellness center’s staff, he doubles down on his intent to succeed in his goal, but an accident soon puts him at the mercy of the center’s unusual healing techniques. As his time there extends, he begins to search for information to explain the strange behavior he witnesses – and soon finds more than he anticipated.
Director: Kiyoshi Kurosawa
Do you want to meet a ghost? Or rather, do you like your horror with a side of existential crisis? Is garden variety nihilism just too cheerful for your tastes? If the answer to any of these questions was yes, then Japanese horror has gifted you with a dark, unsettling gem that just may be up your alley.
Kairo was one of the most upsetting victims of the influx of American remakes of Japanese horror in the early 2000s. Some of these remakes got things right, or at least kept the spirit of the film intact (Dark Water is the best example of this), and some of them got things so very, very wrong. If you’ve seen the American remake of this film, Pulse, disregard everything you know about it.
Directed by: F. Javier Gutiérrez
The Ring franchise has been lying dormant for some time in the US market, likely discouraged by the poor performance of The Ring Two upon its release over a decade prior. After the revival of the film series in Japan, with the recent release of Sadako Vs Kayako, a third film in the American series was rescued from development hell and unleashed onto the world – but was it worth the effort?
Rings tells the story of Julia, a teenage girl whose relationship with her boyfriend Holt begins to crumble once he moves away to college. After a cryptic comment about doing an extra credit assignment for his professor, he disappears and refuses to answer her calls for several days. After receiving an unnerving message from a stranger regarding Holt, Julia travels to his school find him, and in doing so, uncovers much more than she expected.
Sadako Vs. Kayako
Directed by: Koji Shiraishi
I don’t know why we love to take cultural titans and pit them against each other so much. What is it about characters who are able to dominate their genre so well that makes us want to watch them compete for our attention? From Batman V Superman to Freddy Vs. Jason, and all of the Godzilla Vs Monster-of-the-Day films, this has long been a tradition of film making. This time, it was the chance for some of our favorite Japanese ghost ladies to take the spotlight.
Sadako Vs Kayako is as much of a mess as you’d expect it to be, and you’ll love it all the more for that.
Sadako Vs Kayako begins its story with friends Yuri and Natsumi; after attending a class discussing urban legends, including one involving a cursed video tape, Yuri finds herself roped into helping Natsumi with a VHS transferring project she’s working on. When they go to purchase a VHS player from the store, they find it already has a tape inside. Curious, they decide to give it a watch, and soon wish that they hadn’t.
Directed by: Mari Asato
“Have you heard of a curse that affects only girls?”
With this opening line, Fatal Frame draws us into its mythos almost immediately. A dark, brooding boarding school for girls sets the stage. And from there on, the mysteries only intensify.
The story begins with Aya, who is attending an all girls high school, and is quickly approaching graduation. Aya is charming and talented, so much so that many of her classmates begin to fall a little bit in love with her. When Aya shuts herself in her room and doesn’t emerge for weeks, rumors begin to spread about what has become of her. The obsession grows so intense that a ritual forms; girls bring her photograph to a certain part of the school and kiss it at midnight. However, an apparition resembling Aya begins to torment these girls, and after a short time they begin to turn up dead.
Director: Tyler Shields
The concept of the final girl is an absolute classic of the horror genre – the last woman standing, the one who overcomes adversity, defeats the monster/killer, and lives happily ever after. Usually these are everyday women, who win through a combination of ingenuity and sheer luck – but what if a final girl was instead cultivated, specifically tailored to this purpose? What kind of character would that create?
Therein lies part of the concept of the film Final Girl. Veronica is a young girl that is orphaned at a young age, and then taken under the wing of her mentor, William. She trains for years into a lethal and formidable assassin, and by the time she’s reached an optimal level of training, William has a mission for her – and targets that have caused the demise of many girls before her.
We Are What We Are
Director: Jim Mickle
When thinking about cannibalism in fiction, most people will immediately draw from the image of Hannibal Lecter and his unique brand of imbuing terror into his presence. Make no mistake: Hannibal is scary, but he represents a very particular kind of cannibal, one that glides with such ease through social convention that he can easily hide in plain sight. There is something to be said, however, for the flip side of the coin: the characters who are truly misfits.
We Are What We Are tries its hand at representing such characters in the Parker family, a cannibalistic family unit that have been outsiders from the very start. Their situation only intensifies once Frank Parker’s wife is found dead from mysterious causes, and he becomes consumed by grief. In his grief he commands his two daughters, Rose and Iris, to take over the religious duties of the family, which were previously their mother’s responsibility. The girls are reluctant, and begin to question everything they’ve been taught up to this point.
Director: The Guard Brothers
The dreaded remake: the word alone makes most of us cringe. Often with good reason, as there have been a number of beloved horror classics that have been ripped apart in the process of trying to re-purpose them for a different audience. A film like A Tale of Two Sisters is rightfully one of the films lauded as a classic of the genre, and so the idea of an attempted remake of this gave me pause – would they be able to retain any of the qualities that set a film like that apart to begin with, or would it simply blend into being another tale of a generic horror remake?
The Uninvited seems to attempt to take a third option, which is to use the concept of the original film as a launching pad to create something different from the source material. Whether or not you find it successful in that attempt will depend on how much leeway you’re willing to extend to it, and how able you are to separate the concept from its origin.
The Uninvited focuses on Anna, a teenage girl who is finally being released from a psychiatric institution, following a suicide attempt mitigated by her mother’s untimely death in an accidental fire. Upon returning home, she is happy to reunite with her sister, and remains cordial with her father, but has an icy relationship with her father’s fiance, Rachel. While Rachel seems eager to mend their relationship at first, it soon becomes clear that there is something strange about her mysterious past. Between this and the increasingly strange and terrifying events surrounding Anna, she begins to suspect that not all is as it seems.
Director: Robert Eggers
The Witch has been receiving vast amounts of praise leading up to its release, and so it’s difficult to imagine that the film could possibly live up to its reputation. Even Stephen King, considered one of the premiere crafters of horror in our time stated that the film terrified him. It’s a tough act to follow up on. One thing I did know going into this film, however, was this: the less you know when you go to see the film, the better your experience will be. So I did just that, hoping that my expectations would be met.
I didn’t know what to think when going in; I didn’t consider that my expectations would be exceeded entirely.
The Witch deals with a Puritanical family living in the 1600s; they lead a relatively simple life, though one that is isolated due to their expulsion fro their community for differences in worship. While the family struggles, they hope to make ends meet with their crops, and eventually prosper, even in their solitary life. All of this seems to be undone with the sudden disappearance of their infant child, setting off a chain of fear and paranoia that seeks to destroy everything in its path.
Director: Sion Sono
On a quiet spring day, a large group of school girls approach the edge of the platform in a train station. These girls, 54 of them to be exact, then grasp hands before throwing themselves in front of the oncoming train. This is how we are introduced to the world Suicide Club presents, and make no mistake: it only gets darker from there.
When the name Sion Sono is mentioned, there is one film that immediately springs to most people’s minds. While he has directed a number of chilling and intriguing horror tales, Suicide Club is by far the one he seems to be the most well-known for. Suicide Club has been hailed as a classic of Japanese horror in the years since its release, and it’s hard to argue against the reasoning for this – it’s visceral, violent, but not without a haunting philosophy at its core.
Suicide Club begins with the aforementioned mass suicide, but this is just one event of many. Many other instances of suicide happen at around the same time, and the coinciding tragedies cause a panic of people presuming there is a mass suicide pact. Three detectives begin to investigate the case, tying together the acts of suicide with one very disconcerting detail: a briefcase that seems to be left behind at multiple scenes, each one containing a roll of human skin. Together, they begin to dig further into the origin of the skin, and the club itself, finding themselves getting pulled into a much darker and more murky case than they could imagine.