We’re halfway through 2016 and it’s already been a pretty good year for horror. Films like Robert Eggers’ The Witch, Mike Flanagan’s Hush, and anthology horror Holidays have already given us our fix to get us through the winter, but the second half of the year has some of the horror releases I’m most excited for.
By Megashaun
There’s only so much one can say about The Guest without starting to spoil the film’s many finely-crafted layers of plot revelation. But the setup in itself was intriguing enough for me to want to watch it, along with the knowledge that this comes to us from the extremely humorous, twisted, and subversive team of Adam Wingard and Simon Barrett who also brought us the excellent You’re Next (review).
“Bidding war” are two words that filmmakers sometimes wait years to hear. In the case of You’re Next, though, it also meant that audiences would have to wait years to see the movie that caused the stir in the first place. If you saw You’re Next at TIFF’s Midnight Madness a few years back and wondered what happened to it, you’re in luck. It’s now out on DVD after a brief theatrical run at the end of last year.
Here’s a fun experiment to try! Sit ten people around a campfire on a moonless night and start telling scary stories. Everyone takes a turn. What you’ll find quickly enough is that not everything scares everybody. One person may be frightened by ghost stories. Another may be terrified of demonic possession tales. One never knows.
That’s the joy—and the potential for failure—found within any horror anthology film. They’re all scattershot. Even the most ambitious of them (I’m thinking The ABCs of Death) have sections that miss the mark completely (although “D is for Dogfight” was a harrowing piece of storytelling).
2012’s V/H/S was the most consistently enjoyable of the new wave of anthologies, gathering together a conclave of great directors, such as Ti West and Adam Wingard, and letting them do what they do best: scare the shit of people. There are some genuinely unsettling moments in the film (that final sequence, directed by Radio Silence, still haunts my thoughts).
This year’s sequel, V/H/S/2, is better in every regard. The framing device is tighter, the stories are better and the scares are more frequent and more intense.
V/H/S is possibly the first found-footage horror anthology, two styles of filmmaking that are loved as much as they are hated. Found footage films are, without a doubt, one of the biggest cultural trends of the last decade and as such, can go either very well or horribly awry. Anthologies are another risky venture for horror films as inevitably there will be one or two segments which don’t measure up to the rest, thus rendering the entire project grievously flawed. These issues do plague V/H/S to a certain extent, but as an experimental indie horror film, it’s still a success.
The wraparound story of V/H/S (“Tape 56,” written by Simon Barrett, directed by Adam Wingard) is certainly creepy, but still off putting in the way it posits the main characters as disgusting losers. Our introduction to them is footage of their restraining a woman in a parking garage and filming her naked breasts as they pull off her shirt and later, trashing the hell out of an abandoned house. They do this for money but we get the idea that they’d probably do it for free, too. We next learn they’ve been hired to break into a house and steal one VHS tape, having been told “you’ll know it when you see it.” This makes sense within the context of the wraparound segment, but it doesn’t endear us to them one bit. In fact, I found myself pretty repulsed by the intro and wondered if I could even make it through the rest of the film.
You’re Next, 2011
New this week on Popshifter: Emily dares you to get “Les Sucettes” out of your head in her review of France Gall’s Made In France and John places Mary Edwards’s Eastern/Central & Mountain/Pacific in his Top Ten of 2012.