Lost Creek Movie

The transition from childhood to adolescence is tough for nearly every kid. Throw in a ghost and a parent-kidnapping monster, and it’s damn near impossible.

“There’s something real about a guy with a knife who just snaps,” Kristen Bell’s character says in the Russian nesting doll opening for Scream 4. Popular culture is full of stories of men - and occasionally women - who “just snap;” from horror to true crime and even comedy. These stories tap into a primal human fear, hearing stories like these we can’t help identify with the victim and often, to our dismay, the killer. But what happens when the perpetrators at the heart of the story aren’t grown men, but young girls? What can we make of that?

Bryce Dallas Howard prepares to enter the woods surrounding The Village

In 2004’s The Village – the sixth film from writer/director M. Night Shyamalan – the citizens of an isolated town in turn-of-the-century Pennsylvania live in constant fear of the monsters that inhabit the surrounding woods. As we learn, a truce has been struck. The villagers stay out of the creatures’ woods and, in turn, the creatures stay out of the village. However, it becomes clear the agreement is fraying.

Here at Bloody Good Horror we spend much of our time talking about good movies and bad movies alike, and picking apart the things that place titles in either category.

Recently Ciara Wardlow wrote a piece over at Film School Rejects exploring the intersection of fandom and cinephilia. The author’s focus is mainly on convergence culture and franchise product development, considering the ongoing relationships between viewers and diegetic worlds.

There is certainly no shortage of misguided misogyny within the horror genre and on first glance Pet could easily be tossed to the side as just another in a long line of offensive setups of a potentially disturbed man attempting to "save" his female obsession--and what better way to do so than kidnapping her and keeping her in a cage? In fact, for the first act, the film and Dominic Monaghan aspires for little else than a troubling male fantasy.

Bruce Willis stars as David Dunn in Unbreakable

In a genre dominated by excess, where the incredible, CGI-powered feats of one superhuman are no longer enough to satiate us thus leading to games of team-building one-upmanship, 2000’s Unbreakable stands apart. Working without the bombast of the average superhero film, writer/director M. Night Shyamalan instead gives viewers a quiet movie. His film’s climax is a dramatic conversation; its big fight scene is more street fight than tightly-choreographed Hollywood showdown.

There's just something about a filmmaker named Christopher that--when they've got a new movie out--I get weak in the knees. It's not likely that Nolan will be trampling deep within the horror genre anytime soon, but there is one Chris that has spent most of his career dabbling within it. Christopher Smith isn't nearly a household name as of yet and it's a travesty. With the exception of Get Santa (his children's holiday flick that I can't bring myself to watch) Smith's filmography has nary a blemish. 

As far as zombie movies go, there isn’t typically a lot of variation. More times than not, our protagonist wakes up one day in a world that has radically changed (think 28 Days Later, the pilot of Walking Dead, the Dawn of the Dead remake). In these movies, we are along for the ride while characters try to adapt on their feet to a whole new set of rules.

Kate Beckinsale in The Disappointments Room

If you’re a horror fan, then The Disappointments Room probably isn’t for you. If you’re a copywriter, then you probably already recognize it as a gold mine. As a combo spooky-house flick and psychological thriller, it’s neither spooky nor thrilling. That title, though. It’s a ready-made critique on the film’s quality – or lack thereof – and it gives rise to endless variants on the theme of “this movie is so bad it turns whatever room you’re watching it in into a disappointing room.”