Even though they have arguably been around since Frankenstein and the inception of horror, medical horror films have been in retirement for quite some time. American Mary and the remake of Flatliners are perhaps the most recent examples for the 2010s, even though it’s a setting ripe with horrific potential, as proven by the popular franchise Re-Animator. Netflix’s newest horror film Eli documents the horrors of the cost of private medical care in the United States alongside the usual fears that accompany a hospital setting: patient vulnerability during treatment, suspicious staff members with questionable motivations, and the possibility that the hospital itself might be haunted. It also raises several interesting questions regarding informed consent: how much should a patient be allowed to know about his or her condition if it puts the entire world in jeopardy?
TV has had no shortage of witches these past few years, from The Chilling Adventures of Sabrina to the Charmed reboot. While I love the witch archetype as a metaphor for powerful, radical women, one thing these witch TV shows are lacking is a legitimately frightening witch. Lucky for me, when Netflix announced the French series Marianne I was not disappointed. Written and directed by Samuel Bodin and Quoc Dang Tran, this series is decisively one of Netflix’s most frightening series yet, next to Mike Flanagan’s The Haunting of Hill House.
Coming to this new Netflix horror over a week after its launch and, being a user of Twitter, I was subjected to a range of diverse opinions. And some strong emotions too. At first I thought, “what’s all the fuss about?” In the Tall Grass got off to a promising start – the production was slick and stylish, the idea was novel and, at first glance, quite neat and concise. But as the running time dragged on, In the Tall Grass progressively lost its way.