An underrated holiday missive from an underrated early naughts UK pop ensemble that I’m sure some can relate to right now.
Favorites of 2022: Film
This was not a great year for prestige films or flyboy-less blockbusters, but it was a fantastic year for small-scale genre films. Granted, I have missed out on a lot of films — I have yet to see ARMAGEDDON TIME or EO or WOMEN TALKING or a bunch of others as there’s never enough time — but below are my current favorites of 2022.
HATCHING
Brilliantly nuanced work about youth and child rearing. One of the most intriguing body horror films since Cronenberg’s THE FLY.
EVERYTHING EVERYWHERE ALL AT ONCE
“[An] absolutely outrageous film; it’s mind-bogglingly high-concept, often amusingly puerile, always inventive, but also remarkably emotionally grounded.”
MARCEL THE SHELL WITH SHOES ON
“This is a quiet film, both in tone and in scope, but it confidently speaks volumes. It’s a work about ennui and minor victories and emotional stumbles while also being about longing for an accepting crowd. It’s a melancholy, complicated film told simply, one that’s destined for cult status, simply because it defies tonal categorization or, perhaps, because it’s so cute, so initially innocuous, while ultimately being a measured existential tale, one so immaculately put together in a way that will almost certainly have you smiling through tears.”
NOPE
High-concept filmmaking with the heart of Cahiers du Cinéma; an audacious look at Hollywood’s role in representing history and people.
RESURRECTION
The film that made me ask myself: “Why the fuck do I put myself through this?” A brazen and tautly constructed spiral of trauma.
WE’RE ALL GOING TO THE WORLD’S FAIR
“A meditation on finding one’s identity and transformation [and] how people reach out through technology when there’s no other way. It’s a heartfelt, singular work.”
YOU WON’T BE ALONE
“Equal parts Truffaut’s THE WILD CHILD, Virginia Woolf’s novel ORLANDO and Sally Potter’s film adaptation, and Angela Carter’s THE BLOODY CHAMBER and Neil Jordan’s adaptation, THE COMPANY OF WOLVES.”
Noteworthy
CRIMES OF THE FUTURE
Cronenberg returns to body horror in a big way, letting Kristen Stewart do whatever she wants, indulging Viggo Mortensen in breath work, all while showcasing Tarkovsky-esque backdrops.
DO REVENGE
If life is fair — and we all know it is not — this film will become a cult-classic, at least as long as long as it’s available to stream. It starts off as a private high-school STRANGERS ON A TRAIN and then becomes something completely different, all backed by an astounding 90s soundtrack. Shades of a modern JAWBREAKER from the creators of SWEET/VICIOUS.
MRS. HARRIS GOES TO PARIS
Extraordinarily winsome character drama that puts the delights and desires of the best features of attire forward.
PEARL
A surprising “paean to 50s Technicolor melodramas” from one of the most humanist genre filmmakers working right now.
SWEET/VICIOUS (2016)
(VOD) Sadly, this one season wonder has been unavailable to stream pretty much since its launch, which sucks because it launched right when the world needed it the most.
SWEET/VICIOUS is essentially a woman-fronted college campus vigilante story. There’s a bit more to it than that, but I don’t want to spoil matters. However, I will say: when you’re on a campus, you’re either predator or prey, and they’re leveling the playing grounds.
Angelo Badalamenti (1937-2022)
If the works of David Lynch have taught us anything, it’s that those who have passed will live long in our memories and, sadly, composer Angelo Badalamenti will now only exist in that realm.
I’ve thought and mused a lot about TWIN PEAKS over the past few years, for reasons anyone can probably suss out, but I feel like I failed to give due attention to how much work Badalamenti does to buoy Lynch. Yes, there’s Laura Palmer’s iconic theme, and of course Audrey’s dance, but I find his score for FIRE WALK WITH ME to be far more resonant and brutal, The Pink Room (NSFW) in particular.
His influence cannot be overstated. He provided an enlightened soundtrack for scores of dreamy and broken and fucked-up individuals, and he will be missed.
Hiatus
October is over, which sucks, but happens every year. (Please, hold your laughter.) I wrote 31 days of horror recs yet again; I’ve penned 500 posts on this very self-indulgent blog; and I have a NaNoWriMo novel to work on! I doubt I’ll ever quit this blog, but updates will be few-and-far between until 2023 because I’m fucking exhausted.
Given that social media has gone to hell, feel free to follow this weirdo blog via its RSS feed!
Halloween 2022 Programming: Classic
For over a decade, my wife and I have had a tradition where I draft up a selection of horror films for Halloween viewing, and she picks one from each group: contemporary, classic, and cult, and I thought I’d share my suggestions this year.
Due to timing and circumstances, I provided our contemporary first yesterday, and now it’s time for classic and cult. This is classic! I’m also including some personal notes to provide context.
DON’T LOOK NOW (1973)
“A married couple grieving the recent death of their young daughter are in Venice when they encounter two elderly sisters, one of whom is psychic and brings a warning from beyond.”
One of the most popular non-Hitchcock Daphne du Maurier film adaptations, and also one of the greatest portraits of Venice. Certain facets of it haven’t aged well, but it’s still very thrilling.
FRIGHT NIGHT (1985)
“A teenager discovers that the newcomer in his neighborhood is a vampire, so he turns to an actor in a television horror show for help dealing with the undead.”
There was a recent remake of FRIGHT NIGHT, oddly starring David Tennent and penned by Marti Noxon (BUFFY, UnREAL, DIETLAND). While it’s surprisingly good for a remake, the original is more fun.
SISTERS (1992)
“The Staten Island apartment of lovely model Danielle becomes the scene of a grisly murder that is witnessed by her neighbor, Grace, a reporter. But the police don’t believe her story, so it’s up to Grace to solve the murder mystery on her own.”
Brian De Palma’s breakthrough film. (We just saw the end of his OBSESSION.) It also features Margot Kidder, and has some very inventive visuals that — while cribbed from Hitchcock — manage to feel fresh.
Halloween 2022 Programming: Cult
For over a decade, my wife and I have had a tradition where I draft up a selection of horror films for Halloween viewing, and she picks one from each group: contemporary, classic, and cult, and I thought I’d share my suggestions this year.
Due to timing and circumstances, I provided our contemporary first yesterday, and now it’s time for classic and cult. This is cult! I’m also including some personal notes to provide context.
DAUGHTERS OF DARKNESS (1971)
“While passing through a vacation resort, a newlywed couple encounters a mysterious, strikingly beautiful countess and her aide.”
A stylish, surreal cult queer vampire film, featuring the brilliant Delphine Seyrig.
NEEDFUL THINGS (1993)
A loosey-goosey adaptation of a mediocre Stephen King novel that’s stuck in my mind since I watched it many years ago, mostly because it’s extremely chaotic for King. It’s probably not quantifiably good, but it’s a lot of fun. Max von Sydow as the devil — what more could you want?!
NEW NIGHTMARE (1994)
“Proto-90s post-modern horror. I’d say SCREAM before Wes Craven’s SCREAM, but that infers that it’s a lesser film than SCREAM whereas I think it’s one of the smartest self-reflexive horror films ever made; it’s an author reckoning with the perils of creating a horror film franchise that spirals out of their control, while still being an absurdly entertaining, winking, surreal and horrifying film. Smartly shot and absolutely ruthlessly paced — every scene expertly blends into the next — it’s Wes Craven besting himself.
“A brilliant film, even if you haven’t seen prior NIGHTMARE ON ELM STREET films, but so much better if you have.”
PROM NIGHT II: HELLO MARY LOU
The first PROM NIGHT is a pretty standard slasher, whereas PROM NIGHT II dodges into bonkers supernatural territory. It’s quite inventive — more like HELLRAISER — and lot of fun.
SLUMBER PARTY MASSACRE (1982)
“MASSACRE was penned by Rita Mae Brown, a well-known feminist activist and writer, and Corman picked it up and gave it to Amy Holden Jones to direct, but only if she’d play it straight. It features wall-to-wall women, all more capable and unique than you’d normally see in a slasher film, and the film leans so heavily on the male gaze that it’s intentionally absurd, a sly way of gaining Corman’s approval while hoping others would recognize it as visually subversive.”
It’s a very smart, knowing, but also still fun, film which I find rare with slashers. You wouldn’t have SCREAM without it.
Trailer (warning: it’s very NSFW and gives everything away):
THE STRANGE COLOR OF YOUR BODY’S TEARS (2013):
“Returning home from a business trip to discover his wife missing, a man delves deeper and deeper into a surreal kaleidoscope of half-baked leads, seduction, deceit, and murder. Does anyone in the building know something?”
Throwback giallo from the filmmakers of one of my recent favorite films: LET THE CORPSES TAN. One of those films I’ve listed in the past, but haven’t watched for myself because it’s too visually demanding.
Halloween 2022 Programming: Contemporary
For over a decade, my wife and I have had a tradition where I draft up a selection of horror films for Halloween viewing, and she picks one from each group: contemporary, classic, and cult, and I thought I’d share my suggestions this year.
Due to timing and circumstances, I’m providing our contemporary first today, then classic and cult tomorrow. I will note that I have not seen all of the contemporary suggestions, but most of those that I have seen will have links to prior write-ups. I’m also including some personal notes to provide context.
HATCHING (2021)
“A young gymnast, who tries desperately to please her demanding mother, discovers a strange egg.”
Trailer, but I’d suggest passing on it as it gives a lot away:
THE DARK AND THE WICKED (2020)
“On a secluded farm, a man is bedridden and fighting through his final breaths while his wife slowly succumbs to overwhelming grief. Siblings Louise and Michael return home to help, but it doesn’t take long for them to see that something’s wrong with mom—something more than her heavy sorrow. Gradually, they begin to suffer a darkness similar to their mother’s, marked by waking nightmares and a growing sense that an evil entity is taking over their family.”
Been in my queue for a bit, but haven’t watched it yet.
THE LOVE WITCH (2016)
“A modern-day witch uses spells and magic to get men to fall in love with her, with deadly consequences.”
A delightfully colorful feminist work masquerading as a campy 70s throwback.
SLAXX (2021)
“A possessed pair of jeans is brought to life to punish the unscrupulous practices of a trendy clothing company. Shipped to the company’s flagship store, Slaxx proceeds to wreak carnage on staff locked in overnight to set up the new collection.”
I’ve been meaning to watch this campier version of IN FABRIC since it was released, but have yet to.
TIGERS ARE NOT AFRAID (2017)
“A dark fairy tale about a gang of five children trying to survive the horrific violence of the cartels and the ghosts created every day by the drug war.”
That description makes it sound like a thriller, but it has more in common with THE COMPANY OF WOLVES.
WE HAVE ALWAYS LIVED IN THE CASTLE (2018)
“Merricat, Constance and their Uncle Julian live in isolation after experiencing a family tragedy six years earlier. When cousin Charles arrives to steal the family fortune, he also threatens a dark secret they’ve been hiding.”
A fine adaptation of Shirley Jackson’s final novel of the same name.
THE WOLF HOUSE (2018)
“Tells the story of Maria, a young woman who takes refuge in a house in southern Chile after escaping from a German colony.”
A stop-animation marvel that I’ve been meaning to watch for some time.
BORDERLANDS (1990-)
BORDERLANDS has been a long-running horror short-story anthology, one started in 1990 by editor Thomas F. Monteleone. While it’s still going in digital format, I’ll be discussing the volumes released in the 90s. Released by White Wolf Publishing — if you were a nerd in the 90s, you’ll recognize them as pioneers in revitalizing role-playing games — Thomas F. Monteleone assembled four tomes of scary and imaginative tales from some of the best genre writers: Harlan Ellison, Poppy Z. Brite, T.E.D. Klein, Peter Straub, Kathe Koja, Whitley Strieber, and so many more.
For a long time, I only owned two volumes, but I read the others via my friend Chris — who introduced me to the series — and I repeatedly re-read them, especially around October. One story that stands out in particular is F. Paul Wilson’s FOET, of which I’ll let you speculate about given its loaded title, but it has stuck with me since I’ve ever read it; it was a horribly brilliant breath of fetid air that let me know immediately what I was in for with this anthology.
It’s a fantastic collection to take in at your own leisure, and all four volumes featured Dave McKean’s unique collage work as their cover art. I believe there are later reprints that lack the cover, so if you’re ordering used copies online and dead set on those covers, make sure they’re the White Wolf editions. Otherwise, there are newer editions that — while they don’t feature McKean’s covers — reprint the original stories, and the volumes from five and up are all completely new.
Traditionally I eschew direct Amazon links, but it seems to be the way the reprints and new volumes are being distributed:
ORPHAN: FIRST KILL (2022)
WARNING: The following contains major spoilers for ORPHAN, some minor spoilers for ORPHAN: FIRST KILL, and mentions of sexual abuse.
(Paramount+/VOD) ORPHAN: FIRST KILL contains one of the most intense hard-left turns I’ve seen in a horror franchise. Esther was clearly the villain in the first film — which was certainly set up as a franchise due to her signature look: choker and cuffs and Victorian wear and all, as well as her history — but…
Esther pivots hard from being a malicious thirty-something man-eater in the body of a pre-teen to being a hard-scrapple Dickensian survivor. ORPHAN: FIRST KILL becomes a very complicated tale of prioritizing manipulation while also skewering it.
The story takes place several years prior to ORPHAN: artist Alan (Rossif Sutherland) and wife Tricia (the amazing Julia Styles) believe they’ve found their long-lost daughter, Esther, who is actually Leena/Esther in ORPHAN (Isabelle Fuhrman, who is ten years older, but expected to play even younger than she was in the first film) in disguise. They take ‘Esther’ into their home, but Tricia and teen son Gunnar (Matthew Finlan) quickly see right through her deceit, and they start commanding her like a puppet; Tricia to keep her husband happy, and Gunnar simply because he can.
What follows is a revenge tale that can be read as posited towards emotionally and sexually abused youths, despite the fact that Esther is well-into adulthood. At this point, she still doesn’t know how to fully manipulate people and, thus, people manipulate her.
That extrapolation may sound odd, given how most critics have glibly stated that ORPHAN: FIRST KILL is bonkers crazy and fully leans into being fun and, consequently, lacking depth. However, like the best horror films, I feel like it was born from a place of hurt and it resonates, even if it was unintentionally brazen.
I’ll note that I don’t love how all of Esther’s idiosyncratic affectations seem to be collected via this first ‘father’. The film leans hard on the black light artwork, and I honestly wished that Esther had come up with that idea on her own, that it had it not been wormed into her head by someone else.
Nonetheless, this is a singular work of domestic horror that also manages to make the most of a pre-existing film.
Postscript
This is my 500th recommendation via this site. I told myself I’d stop after a year, then kept mindlessly going, then said: “Okay, 500, that’s a good number.” I’m going to see the month out with horror recs, then go on hiatus for NaNoWriMo. I doubt I’ll ever quit this site, but updates will probably be few-and-far between. Best if you have an RSS reader!