HALLOWEEN ENDS horror movie review

Well, it’s better than Kills. While Halloween Ends still struggles narratively, I appreciate what David Gordon Green attempted to do in order to add a thoughtfulness to the action plot and diegetic subtext. What we have here is a melodrama maskerading around as a slasher that delivers an insufficient amount of fun and genuine suspense. After the hugely disappointing and largely forgettable (except for how bad it was) Halloween Kills, expectations were set incredibly low for the final installment in Green’s take on the Laurie Strode/Michael story. Thankfully, the final chapter isn’t bad–that’s not to say it’s good–it’s more accurately described as watchable. As an added bonus, there is prolific exposition at the beginning that negates the need to watch Kills, so audiences can go from H40 to Ends and not miss anything, really. Even though there is one distinct kill inspired by, and some other shot compositions and camera movements that pay homage to the 1978 original, none of these moments feel like gross attempts at winning audiences over with pure nostalgia. Halloween Ends continues the trend for horror films, particularly the (what I like to call the) neo-slasher to focus so hard on atmosphere, social commentary, and melodrama that both the fun and suspense layers are so thin that they may as well be non-existent. From Halloween (1978) to SCREAM, the slasher delivered creative kills and icons but it also delivered highly entertaining movies in which we have found thoughtful subtext and social commentary in hindsight. Aside from the wandering narrative direction of Halloween Ends, it suffers from a lack of a demonstrable ability to generate a fun atmosphere for the audience.

Four years after her last encounter with masked killer Michael Myers, Laurie Strode is living with her granddaughter and trying to finish her memoir. Myers hasn’t been seen since, and Laurie finally decides to liberate herself from rage and fear and embrace life. However, when a young man stands accused of murdering a boy that he was babysitting, it ignites a cascade of violence and terror that forces Laurie to confront the evil she can’t control.

No spoilers.

The boogeyman, no more. “Was that the boogeyman?” –Laurie, “Yes, I believe it was.”–Dr. Loomis. Sorry, Sam, apparently not. In addition to sucking the fun out of the neo-slasher, filmmakers are also removing the boogeyman or monster factor from the killers. Instead of accepting that our killers are monsters that have evil running through their veins, filmmakers feel the need to explain why a monster isn’t a monster; rather, the killer is created by society. Up to Halloween Kills and Ends, you may have asked yourself “what makes Michael tick?” The short answer: we do not know enough–or at least we used to have an insufficient amount of knowledge about–his psychology, sociology, or physiology to know for sure. And that was a good thing! No longer is that the case.

Why? There no longer exists a mystery. Because now we do know too much about his mind and body; therefore, he ceases to be the boogeyman. Being the boogeyman (or a monster) was so important to, not only this franchise, but horror in general. That little bit of mystery and fantasy allowed him (and icons like Michael) to remain monsters that were to be feared and never truly understood or explained. That’s what made them scary–there was no explanation, which mitigates any control may feel we could achieve.

But since we are voyeurs who are obsessed with knowing, David Gordon Green decided that we needed to know why Michael (and those like him) was the way he was. What’s funny, is that in the original 1978 Halloween, the best sequel Halloween H20, and in H40, we can gather enough evidence to hint at what may make him tick, but at the end of the day, it’s fun speculation. Even before we had to have Michael’s behavior (directly or indirectly) explained to us, Michael likely suffered from and displayed signs of a combination of antisocial personality disorder, schizophrenia, and obsessive compulsive disorder. But none of that truly matters any longer because we now know that Michael and those that admire him are created by society’s negative impacts on their young, impressionable lives. True evil is does not exist.

Many fans of the Halloween franchise have a fondness or even love of the (seemingly) one-off Halloween III: Season of the Witch. And while I do not share a particular fondness for this installment, I can appreciate the creativity behind the expression of this tale of Halloween. And maybe if it wasn’t indirectly connected to Halloween, I may like it more. Anyway, I digress. I bring up Season of the Witch, because there are some shared elements between this Halloween movie and Jason Goes to Hell: the Final Friday and Halloween Ends, And I will leave it at that, as to avoid spoilers. If you’ve seen both of these movies I’ve referenced, then you may be able to make connections.

David Gordon Green and his team of writers inject a heaping helping of melodrama into Halloween Ends. Right up there with melodrama perfectly suited for–you fill in the blank–show on The CW or Freeform. Clearly, this was an attempt at adding some gravitas to this poor excuse for a slasher by spending time on dysfunctional family dynamics. After this trilogy, I am convinced that no family unit is healthy in Haddonfield. Bullies, manic and demanding moms, overbearing and weak fathers, nobody feels real in this town–all caricatures of what we don’t like about some people in society. There is no normal ever established. Establishing a sense of normalcy is important because it’s only then that the slasher can upset the order.

Even though this is the final chapter in the Michael/Laurie story, the movie does tip its hat to future Halloween movies. This is one of those movies that isn’t bad enough to warn people to spend their money and time elsewhere, but it’s also not good enough to where it needs to be seen at the cinema. While I firmly believe that horror movies are best experienced at the cinema in a crowded auditorium, the experience of this one will be good enough at home with some friends.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

Halloween Kills horror movie review

Halloween Kills the momentum of H40 (aka, Halloween 2018), leaving audiences wondering why they should care about anything that happens. While the brutality is amped up to an 11 with a comedic touch, the plotting is a complete cluster that ultimately has little to no purpose. Twitter was all a’buzz with the news that the virtual screeners for press were delayed until Thursday evening; and after I saw Halloween Kills in the cinema Tuesday night, I can see why Universal made that strategic decision. It’s simply not good. Is that to say it’s a bad movie? No, it’s not bad; but the storytelling is a significant disappointment compared just how fantastic Halloween (2018) was. This sequel merely functions as filler material between Halloween and Halloween Ends. In a manner of speaking, Halloween could’ve ended with this one had the tertiary installment not already been shot. This movie doesn’t even try to justify its existence; it’s as if it knows that it’s bad, but did what it could to thrill audiences with the return of Michael Myers as much as possible. And he certainly delivers creative kills, some of which, have a hint of dark comedy. So if nothing else, you will be entertained by the brutality of The Shape, and even laugh at his twisted sense of humor. He’s no Freddy Krueger, but I like the touch of comedy in some of the kills.

The nightmare isn’t over as unstoppable killer Michael Myers escapes from Laurie Strode’s trap to continue his ritual bloodbath. Injured and taken to the hospital, Laurie fights through the pain as she inspires residents of Haddonfield, Ill., to rise up against Myers. Taking matters into their own hands, the Strode women and other survivors form a vigilante mob to hunt down Michael and end his reign of terror once and for all.

While this sequel is incredibly brutal, I appreciate how none of the kills are gratuitous nor does the camera linger on the violent acts or results thereof. However, the camera does linger on a subplot that is bonkers bad and pointless, except to provide social commentary on the negative impact of mob mentality. The idea of commenting on mob mentality shows that there was some attempt at thoughtfulness in the story; unfortunately, it was a slapdash attempt to provide substance in this otherwise forgettable sequel.

What makes a good sequel? That is perhaps the question that the writers, producers, and director David Gordon Green should’ve thought about when outlining this followup to the smash hit Halloween 2018. If there is already a predetemined trilogy, then the middle movie should deliver develop key characters and the plot should leave us with a feeling of all hope is lost. Now, this movie certainly leaves audiences hanging precariously at the end, and there is a very significant kill, but there is no substantive character development or meaningful plotting anywhere to be found. It’s simply a Michael on a rampage movie, with some moderately interesting exposition and backstory. What this movie did in 1.5hrs, it could’ve easily done in 20–30mins. While I may be exaggerating a little, it’s hyperbole to illustrate the fact there is so little substance to this movie. The plot is a real cluster.

What does work in the film? The kills. You will be highly entertained by the brute force in Michael’s kills. Massive carnage awaits audiences. No one is safe, and Michael proves that he truly is the unstoppable killing machine that is filled with evil. I appreciate how much care was put into the kills and how to show them. Wish that same level of care was found in the writing. You will also enjoy seeing familiar characters from the original film! And there is a particular character that I was absolutely delighted to see, because their appearance was completely unexpected–that I would actually see them! Those couple of moments made me smile.

After watching this movie, I still feel that Halloween H20 and Halloween 2018 are the stronger Halloween sequels. Between the two, I actually like H20 just a little more. Speaking of which, H20 has a much better story and more substantive character development than Halloween Kills. Furthermore, H20 is far more entertaining and fun to watch, not to mention the plot is significantly more structurally sound. There aren’t any real standout moments in Halloween Kills, and from what I can remember, no emotional nods to the original or Halloween II.

Perhaps the tertiary installment Halloween Ends will be the A Nightmare on Elm Street 3: Dream Warriors of the Halloween franchise. Even though Freddy’s Revenge is a better film than Halloween Kills, it’s still seen as a point at which ANOES may have died, but thankfully Dream Warriors swooped in to save the day with its outstanding characters, plot, and story. Many prefer Dream Warriors to the OG (not me, but I do place Dream Warriors as a close second behind the OG). Here’s hoping that the final film in this trilogy will have the soul of the original film but take us to new places.

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Ryan teaches American and World Cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

“FREAKY” Horror Movie Review

Friday the 13th meets Freaky Friday in the no-holds-barred, feel good horror movie of the year! Universal Pictures has certainly gone back to its horror roots in 2020. In February, it gave us The Invisible Man and on Friday the 13th of November, it gives us FREAKY. Writer-director Christopher Landon, who gave us many horror movies including Happy Death Day and Disturbia, delivers a refreshing horror movie filled with inventive kills, a fun plot, and frisky characters. Everything that you love about 80s slashers is here in this love letter to the horror subgenre that still brings friends together today. Funny how horror movies–movies filled with that which would repulse us in real life–have the opposite effect of promoting inclusiveness and community. And it’s that sense of community that separates horror, specifically the slasher, from other film genres. There was a magic in the decade of 80s horror that continues to greatly influence content creators and fans today. Landon knew this, and channeled so much of what made the slasher take the world by storm into this movie. While FREAKY is an entertaining movie regardless, it will be the nods to movies such as Friday the 13th, Halloween, A Nightmare on Elm Street, and Child’s Play that will inevitably bring about the nostalgic thrill ride that Landon carefully crafted! Starting out as a masked killer, Vince Vaughn soon delivers the laughs as he captures every nuance of a mousey, bullied teenage girl trapped in a middle-aged man’s body. Likewise, Kathryn Newton perfectly captures a notorious slasher trapped inside a teenage girl’s body. Perhaps FREAKY is a little lite on the lessons learned from the body swap achieved through a Child’s Play-like mystic ritual, but Newton’s Millie does learn confidence. From the opening, that’s clearly an homage to the shock of SCREAM, through the hijinks and antics to the climactic ending, there is something for everyone in this movie–especially for geeky horror fiends like myself!

A mystical, ancient dagger causes a notorious serial killer to magically switch bodies with a 17-year-old girl. (IMDb)

That’s it. Simple, right? Some of the best movies of all time have simple plots and complex characters. Okay, so FREAKY may not have incredibly complex characters, but what it lacks in dimension, it makes up in a diverse cast plus doubling down on its identity as a genre film. Horror movies have long since been the most progressive of all the genres, and Landon keeps this value alive in his latest movie. Even before mainstream movies began including strong female characters, critiquing toxic jock culture, and including non-parodied LGBT+ characters, horror was a leader in inclusion and diversity. Has it too evolved over the years, of course; but my point is that it’s always been the leader. Using a reimagination of Freaky Friday as a slasher as the foundation, the movie is able to get incredibly creative with the conflict, character dynamics, and the kills! It is unlikely that any of these kills will make Top 10 lists one day, but they are mostly homages to past kills from tentpole horror movies. Is the plot predictable? Yes. But does that take away from the entertaining factor? Definitely not. This movie knows what it is, and delivers the laughs and squeamish winces in spades! Predictable as the plot may be, it is not without its unique twists and turns. I appreciate how those that are killed by either THE Blissfield Butcher or Murder Barbie are bullies in one way or another. Perhaps this movie doesn’t go very deep, but it’s certainly a cautionary tale on the deadly consequences of direct and indirect bullying and assault.

If you go into this movie wanting something completely new, then you’re going in with the wrong attitude. If you want to see a new twist on a foundational part of horror cinema, then you’ve come to the right movie! It’s been quite a while since there has been such an unapologetically fun movie in cinemas, and this is precisely the antidote to uplift the geeky horror spirit!

PS. Can we please stop using the Mystic Falls (Covington, GA) town square from Vampire Diaries in every movie that needs a small town? At least this time, I couldn’t make out the Mystic Grill in the background like I could in Doctor Sleep.

Ryan teaches screenwriting and American cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with or meet him in the theme parks!

Follow him on Twitter: RLTerry1

My Top 10 General and Horror Films of the Decade

As 2019 comes to a close, it’s time to outline my top 10 favorite films of the decade! To make it more fun, I am writing two lists (1) general cinema and (2) horror specific. Since I am known as Professor Horror on Twitter, I couldn’t disappoint everyone by not composing a horror specific list. That being said, in order to provide some sort of structure to selecting the films, I’ve decided to pick one film from each year. Furthermore, instead of simply listing them, I am writing a brief thought about each. The first list will be general cinema and the following list will be horror specifically. What does your decade list look like?

 

 

 

 

GENERAL CINEMA

2010: Black Swan-A brilliant horror adjacent adaptation of the famous ballet that is equally beautiful and terrifying all at the same time. Portman and Kunis deliver compelling performances and the art direction and production design are outstanding. Aronofsky’s direction is masterful in what is likely his greatest motion picture IMO.

2011: Hugo-A movie for cinephiles in the vein of Cinema Paradiso. Whereas Scorsese is often seen as an iconic film director of gangster movies, he also has a softer side that is largely unappreciated. His work in this film showcases his enthusiasm and love for cinema as a visual art form to tell great stories. It’s beautiful and thought-provoking.

2012: Silver Linings Playbook– Truly hits you in the feels. The thing about silver linings is that they cannot come without clouds. This gritty love story takes audiences on a tremendous journey, following both son and father as they respectively deal with their mental problems though that which they love. It’s an unapologetic look at the mountains and valleys of relationships.

2013: Blue Jasmine– Cate Blanchette’s award-winning and Sally Hawkins award-nominated performances are gripping and sharp. The dark comedy about the mental breakdown suffered when your entire world is ripped out from beneath you is compelling and powerful. This is an incredibly relatable film about identity crisis and self-centeredness. The hilarious comedy is matched and counterbalanced by the heavy drama in a film that is brilliantly layered with plenty of substance.

2014: Gone Girl– Such an incredibly, thrilling ride! This spellbinding crime/mystery drama will have you on the edge of your seats from the time acclaimed director David Fincher opens the film the time the credits roll. There are few directors who can visually capture the very essence of a novel cover to cover, and that is exactly what Fincher did. Aside from the brilliant direction of David Fincher, this movie benefits greatly from the screenplay written by Gillian Flynn, the author of the original best-selling novel. This proves to be an excellent move because the movie is so incredibly close to the book.

2015: The Big Short– Brilliantly casted and directed, this film will have your utmost attention the entire time. Screenwriters Adam McKay (also the director) and Charles Randolph create a movie with such realism and candor that you will be able to truly understand the foundational problems that aided in creating the mortgage-backed security crisis which led to the housing meltdown and the loss of millions of jobs. The scariest part is, at the end of the movie, you will read that starting in 2015 that big banks are once again engaging in similar behaviors under a new name. The utter greed, absurdity, and naivety on display in this movie will leave you astounded.

2016: La La Land– Simply dazzling! A beautifully produced motion picture musical that is sure to delight audiences around the world. Ryan Gosling (Sebastian) and Emma Stone (Mia) shine brightly in this self-reflexive modern romantic film set on the backdrop of a classically composed movie musical echoing the song and dance numbers that Busby Berkeley brought to the silver screen through Hollywood studio system powerhouse Warner Bros. Every aspiring professional who has the dream of a substantive career as an artist in the visual and performing arts–or just an artist in general–needs to watch this film.

2017: I, Tonya– Of skates and class. Margot Robbie stars as the first US woman to successfully land a triple axel at a national competition…also the most infamous woman in the history of US Figure Skating in what is likely one of the most difficult and controversial biographical films ever produced. This film provides audiences with an unapologetic glimpse into Harding’s early life through “the incident.” Although “the incident” is what everyone remembers, this movie shows a struggling young person attempting to change, but thwarted at every angle by hearing that she cannot because she isn’t what America is looking for and has no class. But why couldn’t it have been just about the skating??? It’s also the film that, ironically enough, inspired me to learn figure skating myself.

2018: The Favourite– A brilliantly entertaining satirical dramedy! Not your history channel biopic. This no-holds-barred dramedy provides audiences with a story about a twisted love triangle within the royal court of Queen Anne that is anything but prim and proper. You will be instantly sucked into just how bizarre and brilliant this film is because of the seductive visuals and razor-sharp wit. The costumes, locations, and set design are incredible. Upon watching this film, I was reminded of another worldclass period drama where each scene felt like it was an oil painting. I am talking about Stanley Kubrick’s Barry Lyndon. Never before have I seen a film come so close to delivering the experience that the Kubrick masterpiece did.

2019: Judy– A truly gripping motion picture that will bring you to tears during this somewhere over the rainbow redemption story. Renee Zellweger is captivating as Judy Garland, and you’ll swear that you’re watching Garland on the big screen. While there are many movies that focus on the rise and fall of a talent in showbusiness, this movie skips all the glitz and glamor to paint a realistic portrait of what it is like for those whom grow up in front of the camera, controlled by those around them, just to wind up in front of booing crowds, empty bank accounts, homelessness, and a tumultuous custody battle. All the way down to the mannerisms, vocal inflections, and over all behavior, she IS Judy. Although we all know of the tragic ending, no mistaking it, this film is an inspirational story of redemption.

HORROR

2010: Don’t Be Afraid of the Dark– The atmosphere of this movie in a mansion that is ostensibly a character in and of itself is fantastic! Not only is is a great horror movie, but it also comments on the response of adults to children’s imaginations. The suspense and tension is earned and built brilliantly. Up to this point, the majority of horror movies were gore-fests; but this movie (along with Insidious), helped it usher in a return of the haunted house subgenre of horror. The cinematography is gorgeous and the production design is incredible. Until we actually saw the creatures, they were extremely terrifying. After we see them, a little less so.

2011: Scream 4– Wes Craven is back! The Scream franchise returned to the big screen after over a decade of hiatus. Scream 4 is the ultimate payoff of the groundwork laid by the first film. Although this film couldn’t exist without its predecessors, it yet somehow manages to elevate the concepts it’s built upon whilst doing it. Not to be confused with elevating the genre–this genre has always been elevated. The final act reveal is one of the most satisfying and surprising in modern horror history. It’s dripping with savage social commentary about the lengths that people will go to to be famous, and how the nation’s obsession with canonizing serial killers leads to a world in which the line between celebrity and mass murderer becomes increasingly blurred.

2012: The Possession– Although the demon possession subgre of horror is all too familiar, this film is a refreshing take on the subgenre. It’s a truly terrifying film that depends are far more than jump scares and loud noises to generate nightmares. It’s no surprise that The Exorcist inspired many films, but this is certainly among the best! That scene in which Emily completely loses it in the tunnel, flinging the groceries everywhere is one of the best horror scenes ever. Bringing the nightmare to screen is the phenomenal direction provided by Ole Bornedal. It possesses some of the best writing of horror this decade!

2013: The Conjuring– Fresh and terrifying! The atmosphere of this horror film is so intense and terrifying that you may find yourself keeping the lights on at night. And hide-and-seek is all of a sudden a much more nightmarish game than it ever was before. From start to finish, this unnerving film is the stuff nightmares are made of. Even after the movie, you feel personally haunted. My favorite thing about this film is how the entire plot feels like an old-school haunted house horror film. James Wan not only delivered a brilliant addition to the horror library, but it also inspired the ConjuringVerse.

2014: Oculus– This movie could’ve just as easily been subtitled “Through the Looking Glass” or “Alice in Horrorland.” Oculus does not rely upon jump scares to curdle the blood and cause the heart to race. It takes a much more Hitchcockian approach–the fear is in the mind of the audience. Hitchcock once said, “greater is the fear in the mind than the fear on the screen.” And, director Mike Flanagan has “suspense” in spades. Not that “Oculus” is without an ominous presence materializing behind a character; but the film is successful in creating legitimate fear in the minds and stomachs of the audience without having to result to cheap parlor tricks. Unlike a typical horror movie, the enemy is an intimate object with malevolent powers of “perception.” Throughout the entire movie, you will ask yourself if what you are seeing is real or are you seeing what the mirror wants you to see.

2015: The Blackcoat’s Daughter– Unnerving from beginning to end! The atmosphere is dismal and ominous, which gives way to the bloody horror that unfolds. Seductively slow, the pacing draws you in moment by moment into the unsettling world. I liken this film to Rosebary’s Baby because the horror is implied and atmospheric more so than gimmicky or tropey. For fans of gothic horror, this film delivers a mesmerizing story that delivers frightening situations and imagery that are a testament to art house horror. Here’s something cool too: it is directed by the son of horror legend Anthony Perkins (Psycho). The muted performances by the two lead actresses are an outstanding achievement in that there is so much power in the restrained delivery of the subtext-rich lines.

2016: Don’t BreatheDon’t Breathe is a brilliant horror film that will keep your adrenaline pumping and keep you guessing from the beginning of Act II to the final cut to black. Crossing into different sub-genres of horror, this movie will capture your attention every moment and catch you off guard every chance it gets. Although there is no scientific evidence for the collective belief that when one sense is removed that the others take over, it does make for a fantastic plot device that will greatly heighten your own senses while watching this efficiently ruthless movie. It’s a cinematic claustrophobic rollercoaster that includes one terrifying turn after another. In other news, if you’re looking to buy a house, this film includes some great shots of your next neighborhood in Detroit.

2017: IT: Chapter I– IT’s hauntingly fantastic! From the first to the last scene, the Stephen King adaptation directed by Andres Buschietti is nothing less than a horror masterpiece that does both the original novel and the TV mini series (1990) justice. The brilliance behind the adaptation is found in the excellent cast. So organic, so relatable. A common trope in King novels (and by extension the movie adaptation) is the tried and true narrative structure of the “coming of age” story. IT may serve as a horror film for shock value on the outside; but beneath the nightmare-inducing exterior, beats the heart of a heavy drama with a great message about growing up, friendship, teamwork, and facing one’s fears.

2018: Halloween– David Gordon Green’s Halloween truly is the sequel that we have been waiting for in the Halloween franchise. Green set out to direct a Halloween movie that he desired to work both as an homage to the original whilst crafting an original story that could do more than be a great horror film, but be a great film period. And suffice it to say, he delivered in spades (or knives, as it were haha). Words cannot even begin to capture the energy of the auditorium when I saw it last year. From echoes of the original (and some of Halloween 2) it still succeeds in providing longtime fans and those newly discovering the franchise with an original story that will hook you from the very beginning when you realize that all bets are off because no one is safe. It’s thrilling, engaging, and fun. It may lack Dean Cundey’s brilliant cinematography from the original, but visually the film has those quintessential moments that act as a throwback to Carpenter’s original groundbreaking slasher.

2019: Doctor Sleep– A brilliantly unsettling and crisp horror film! Mike Flanagan’s Doctor Sleep is both an adaptation of the Stephen King novel, by the same name, and a direct sequel to Stanley Kubrick’s The Shining. Although many unplanned sequels to iconic classics are challenged to justify their own existence, and often fail to live up to the magic of the original, Flanagan defies the fate that so often befalls sequels and delivers a compelling film worthy to be connected to Kubrick’s cinematic masterpiece. While the specter of Kubrick is lurking in the background, and our foreground story takes place on the backdrop of The Overlook Hotel complete with the presence of Jack Torrance, this is a completely new story that acts as a bridge between the literary and cinematic worlds. Doctor Sleep takes audiences to some very dark places–a no holds barred approach–that will surely get under your skin and cause you to cringe at the vile actions on screen in Rose the Hat’s quest for ostensible immortality. There is something irresistible about returning to the infamous Overlook Hotel.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Scary Stories to Tell in the Dark” horror movie review

Everyone loves a good ghost story, and Scary Stories to Tell in the Dark has several ones that remind me of Nickelodeon’s Are You Afraid of the Dark? on steroids! Don’t let the August release date fool you, this is a surpassingly frightening horror movie! It takes the very practice of passing along scary stories generation to generation, and explores the far reaching effects that the power of story has in a manner that it as insightful as it is visually terrifying. Directed by Andre Ovredal with a superlative screenwriting and story team including Guillermo del Toro, Scary Stories to Tell in the Dark relies upon a more classical approach to a horror movie by building upon old fashioned ghost stories. You know, the kind that you sit around the camp fire or on the floor of your childhood sleepover and tell one another. These are stories that have been shared and passed down so prolifically that they feel alive. Ghost stories are such a part of our childhood and teenage years, and this film explores the idea of these stories coming to life. A terrifying prospect. Despite the one-dimensional characters, this movie keeps the audience engaged because of the incredibly fun plot and nightmarish visuals. And no, the end of the movie is not tied up with a nice little bow. Traditional narratives follow: order–>disorder–>order again, but horror often takes on an order–>disorder–>order–>disorder path. While there are elements in this movie that may predispose you to thinking that it’s an anthology like Michael Dougherty’s Trick ‘r Treat, it is one linear narrative. Scary Stories is  thoughtful horror movie that is a throwback to the tales of old, when hauntingly spooky was more important than grisly gore.

Pennsylvania 1968 on Halloween, and change is blowing in the wind…but seemingly far removed from the unrest in the cities is the small town of Mill Valley, where for generations, the shadow of the Bellows family has loomed large. It is in their mansion, on the edge of town, that Sarah, a young girl with horrible secrets, turned her tortured life into a series of scary stories she passed along to children whom would talk to her through the wall of her foreboding mansion. In addition to passing down the stories orally, she wrote them down in book that truly immerses the reader into the terrifying plot. When a group of teenagers accidentally stumbles onto Sarah’s book of scary stories to tell in the dark, they realize that these stories are become all too real, and they find themselves strapped in the pages of these stories that transcend time and reality.

On one hand, this movie may appear overly generic to the casual observer, given the chief elements that make up the story. You have a group of misfit teens in small town middle America, lots of period nostalgia (that is thankfully not even more of the already proliferated 80s), a cursed object that torments its readers, and a haunted house. Everything that a writer needs to create a forgettable horror movie that goes directly to streaming services is here. But that is where you would be wrong to presume it is just another generic haunted house movie. The premise may not be exuding originality but the expression of the premise is. Combine the original expression of a plot template with the stunning visuals that we’ve come to expect from the del Toro brand, and you have one fantastic horror movie. Clearly exhibited in each and every scene, there are many signs that this movie was built by writers and a director who cares about the story and the audience experience. The degree to which this haunted house movie works for audiences may one day be seen in Universal’s Halloween Horror Nights. So many visual elements in this movie lend it to a haunted house (definitely more than the upcoming Us haunted house). Even if you did not grow up reading the Scary Stories books, you probably read Goosebumps or watch the TV version of the former or Are You Afraid of the Dark? and that is all you need to know or be familiar with. Go in with a love of good old-fashioned ghost stories, and you will have a fun time.

This is the second gateway horror movie that we have seen in the last couple years. Last year, we had The House with a Clock in its Walls, which worked as a gateway horror movie (albeit less so than this one). Ever since the TV shows referenced earlier went off the air, there has been a need for PG and PG-13 horror for younger audiences that also appeals to adults. Most of the horror movies over the last couple of decades have large been aimed at older teens and adults. The trick is to write a story that is appropriate enough for general 12-17 viewers, but still contain the macabre elements that 18+ viewers want to see. And that doesn’t mean gore, it means a thoughtful approach to crafting a fun horror movie that genuinely frightens you. Spooky atmospheres, ghostly apparitions, and tormented characters have been a staple of the American horror film from the days of Nosferatu and The Phantom of the Opera. But in recent years, haunting production design and memorable monsters have taken backseat to schlock fests. This movie seeks to bring back the old fashioned haunted house ghost movie to foster an appetite in young audiences for the fantastic world of horror.

The central character and our character of opposition are two opposite sides of the same coin. Driving their decisions is a love of storytelling and family issues. Of course the familial issues differ greatly, but they complement one another nicely. When developing central and opposition characters, it’s important for the screenwriter to remember that often both characters need to share some common traits, and even common goals, but the difference is in how that desire to achieve the goal is expressed through action. There appears to be ab attempts by the movie to provide opportunities for the characters and plot to comment on the society and politics, but it’s never fully developed. Underscoring many of the scenes in the film is the 1968 presidential election and the controversial Vietnam War. I feel that the socio=political elements were not used as effectively as they could have been, so it would have been better just to leave them out as those moments don’t add anything to the overall story.

The power of story. It was Cecil B. DeMille who stated that the “greatest art in the world is the art of storytelling,” and Scary Stories takes its cue from the timeless words from a  Hollywood great. Films were always about breaking ground in visual technical marvel, the almost oxymoronic photorealistic animation, or grisly violence; they were about telling stories. Not unlike the ones that got orally passed down. And these stories helped to shape generations of current and future storytellers. When you tell a story enough, it begins to have a life of its own, there is a place for some evil to be contained as we creatively explore the human condition, sexuality, gender roles, faith, psychology, and sociology through the American horror film. We already have a movie about what happens when the stories die (see my article on Wes Craven’s New Nightmare), so this one takes the approach of what happens when you steel someone’s storybook but pairs that with the healing power of storytelling. To get into how and why would reveal too much about the showdown of the movie, and I don’t want to spoil it for you. At the end of the movie, you are left with wondering about the stories that you have passed down, and power to terrify or to heal that comes along with them. You may even find yourself wanting to get a group of friends together to tell ghost stories.

If you love a good ghost story, then you definitely want to catch this while in theatres to truly appreciate and experience the nightmarish visuals of the monsters and the beauty of the production design. Get into the Halloween spirit a little early with Scary Stories to Tell in the Dark as you enjoy a throwback to a more classical approach to the American horror film.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa and teaches high school TV/Film production. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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