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The Hollow

“So bad it’s good” is a review cliche that needs to go. If it isn’t being misapplied to things that just plain suck, then it’s hurled at legitimately good movies by reviewers who don’t have the spine to say so. But as long as it’s here, let’s use it where it’s truly appropriate: 2015’s The Hollow is an objectively horrendous nightmare and holy crap you have to watch it, you have to watch it right now.

Now that Jon Stewart has been thrown into the tar pits, I have no idea what the hell is going on in politics, but word around campus is that there's an election happening sometime this year. Not a franchise to miss out on a ham fisted stab at relevance, The Purge franchise is back with a very on-the-nose film titled The Purge: Election Year. Get it?

It wasn't but a year ago that BH Tilt almost instantly dubbed itself as the dumping arm of Blumhouse- unceremoniously dropping four titles onto Netflix that previously had been shuffled around in limbo for some time. Does this speak to the quality of the films dumped? Perhaps, though I will stand firmly in defense of Bryan Bertino's Mockingbird. So what's to be made of the recent crop of Netflix dumps which include Visions, Curve, and the topic for this review...The Veil?

The horror genre has gained notoriety as of late for taking over the small screen. Horror and television are slowly becoming synonymous. American Horror Story, Hannibal, Scream Queens, Scream, Bates Motel, are all must see TV for horror aficionados. This trend of horror television is not quite as new as some proclaim it to be. Over the next few months BGH will be examining the best horror had to offer television in the previous decades, starting off this week with the 1950s.

Being a female horror fan can be a somewhat alienating experience. Despite having the distinguished honor of being the progenitor of the Final Girl trope, the genre is not always kind to the so-called weaker sex. February 2016 marks the seventh annual Women in Horror Month and, as such, I will be dedicating my time over the next couple of weeks to watching and reviewing female-directed horror films.

Julianne Hough in Curve

In the by-the-books thriller Curve, Julianne Hough’s character Mallory finds herself in a bit of a 127 Hours situation. She’s trapped at the bottom of a ravine, her leg ensnared in the wreckage of her SUV. She survives for a while, but it becomes clear help isn’t going to make it in time, leaving her with a choice: cut off her leg or die in the SUV. Oh, and there’s a serial killer there, too.  

Fourteen years ago Eli Roth burst onto the horror scene with the gory, darkly funny and memorable Cabin Fever. Since then the quality of his conbtributions to the horror community have been extremely varied but there is little doubt that this first entry is a shining star in a time period that was particularly depressing for horror. So it seems fitting in light of the backlash that he's gotten over the last few years that he is returning to produce what once made him one of our most promising young stars. In this version he has handed the directorial rights to Travis Zariwny who also has the home invasion flick Intruder on the docket.

The first 45 minutes of the found-footage horror flick JeruZalem highlight the best and worst of what the Paz Brothers have brought to the table early on in 2016. The best being the rich and beautiful city of Jerusalem- ripe with lush landscapes and admirable architecture. The worst? Plodding character development, and a bafflingly terrible supporting performance Yon Tumarkin. 

The simplest way to conform to the general horror market is with a story revolving around zombies. While the genre typically seeks to bend and morph with the changing times, the saturation of certain sub genres becomes inevitable.

People breaking into a house they shouldn’t be in is old hat in the horror world. Some of the genre’s most memorable and influential films have revolved around a similar story. The home invasion subgenre is so well-established that it has become overwrought. The repetition has taken it to the same place that many subgenres find themselves these days: as horror movies become cheaper to make and original ideas seem scarce, straight to VOD movies abound and cynical money grabs clog the theaters.

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