In Search of Darkness, a crowdfunded documentary that showcases 80s horror, is the ultimate nostalgia trip. For anyone who grew up in the 80s or otherwise quenched their passion for horror on the films of this decade, this 4-hour-plus love letter will have you pining for the days when more was really more – more blood, gorier special effects, but not necessarily more budget. Nor, when we look at the 80s oeuvre as a whole, more quality.
Alien is very possibly my favourite film. I certainly spend much time overthinking it, as anyone who’s read my recent article on its Gothic roots will already know. Imagine my annoyance, then, when I realised I would miss the limited theatrical run of the film’s new documentary, Memory: The Origins of Alien, directed by Alexandre O. Philippe. Imagine my comparable delight when it suddenly became available to stream through the website of the trusty old BFI.
It Chapter Two is the much-anticipated sequel to Andy Muschietti’s 2017 It, following up twenty-seven years after where It left off. The child members of the Losers’ Club have grown up and grown apart. Apart from Mike Hanlon (Isaiah Mustafa), who stayed in their childhood home of Derry, Maine, all of the other Losers moved across the country and have completely forgotten about their previous battles with the homicidal supernatural entity which appears to the children as Pennywise the Dancing Clown (Bill Skarsgård). After a string of child disappearances, Mike calls the other Losers, instructing them that it’s time to make good on the promise they made twenty-seven years ago to return if Pennywise ever comes back.
William McGregor’s feature debut Gwen is not your typical horror film. In fact it’s not really a horror film. What is terrifying about this film is its grey, trudging depiction of the harsh reality of life in the Welsh countryside of Snowdonia at the turn of the nineteenth century. Eleanor Worthington-Cox plays Gwen, a teenage girl whose father is away fighting in the army, struggling alongside her severe, exhausted mother Elen (Maxine Peake) to look after her little sister and prevent their small farm from falling into the hands of the local quarry owner, Mr Wynne.
Editor’s note: as this is an analysis of the film Midsommar, there be spoilers ahead.
Midsommar is Ari Aster’s latest horror offering following 2018’s Hereditary, and sees a group of friends who travel to Sweden for a festival that only occurs every 90 years, only to find themselves amongst a pagan cult.
“When I decided to write this movie I was stricken by the fact that we’re in a time where we fear The Other – whether it’s the mysterious invader we think is going to come and kill us or take our jobs, or the faction we don’t live near that voted a different way than us. We’re all about pointing the finger. I wanted to suggest maybe the monster we really need to look at has our face. Maybe the evil is us.” – Jordan Peele
Jordan Peele’s new horror film Us, the eagerly awaited follow-up to his Oscar-winning horror debut Get Out (2017), documents the terror of a terrified mother, Adelaide (played by Lupita Nyong’o), as she fights to protect her family from an uncanny band of doppelgänger home invaders. The film opens with a series of haunting quotes, one of which claims that the whole of North America is infested with a network of subterranean tunnels, directly mirroring the above-ground world. From the outset, then, Peele makes it clear that the domestic horror promised in the trailers for Us will give way to something much more expansive, a nation-wide catastrophe. Nevertheless, the cinematic gaze focuses almost explicitly on the Wilson family, for reasons that become clear in a final twist in the closing minutes of the film.