"Fairer skin has been in favor for the past, what, couple of hundreds
of years? But now the pendulum has swung back. "Black is in fashion.”
who’s passingly familiar with my writing or has been to the Iguana more than
once would, in all likelihood, have noticed my preference for genre pieces that
have something to say.
the kind of genre material I’m deeply interested in, the ones that use the
tropes and the conventions and the form as a platform to delve into important,
vital matters. The kind of material that says something to its audience about
the world they live in.
if you’ve seen the trailer for Jordan Peele’s feature directorial debut, Get Out (which Peele also wrote the
screenplay for), it should be fairly obvious that the film is about race, and
its ugly, bigoted offspring, racism.
“Chris, you gotta get
the f*ck up outta there, man! You in some Eyes Wide Shut situation. Leave, motherfu--”
The Fades’ and Black Mirror’sDaniel Kaluuya plays Chris Washington, who is being introduced to--and
spending the weekend with--his girlfriend’s parents (played by the always marvelous
Catherine Keener and a vaguely unrecognizable Bradley Whitford).
when that happens in a Blumhouse film, you just know things are gonna get ug-leeee…
say anything more is not really my style here at the Iguana; it would also be a
frank disservice to the extraordinary piece Peele and company have brought to
it to say that if you, like me, have a taste for horror with a brain, then Get Out.
“I mean, I told you not
to go in that house…”
those who know Jordan Peele as half of the comedy sketch duo Key & Peele,
note that at the age of 13, he knew he wanted to be a horror film director.
the whole comedy thing was a huge
detour, but he’s managed to find his way back to the dream.
few more things to look forward to from Peele:
4 other “social thrillers” (his term) that he plans to work on, of which he has
this to say: “The best and scariest
monsters in the world are human beings and what we are capable of especially
when we get together. I’ve been working on these premises about these different
social demons, these innately human monsters that are woven into the fabric of
how we think and how we interact, and each one of my movies is going to be
about a different one of these social demons.”
also teamed up with J.J. Abrams’ Bad Robot to adapt Matt Ruff’s Lovecraft Country for HBO (it’s been
given a straight-to-series order).
has this to say about Lovecraft Country:
[Ruff] makes visceral the terrors of life
in Jim Crow America and its lingering effects in this brilliant and wondrous
work of the imagination that melds historical fiction, pulp noir, and
Lovecraftian horror and fantasy.
"We've come to the place where we joke about the idea of the Devil. With
the horns and the tail and all that. But that is Satan’s Lie. To distract us
from the reality of who He is.”
Sean Byrne was last ‘round these parts when his feature debut, The Loved Ones, nabbed the Aussie Horror
Runner-Up slot on the ¡Qué horror!
back, with his brutally metal follow-up, The
Byrne takes the “a family’s hopes for a new life are shattered when they
encounter the darkness that comes along with the new house they just bought”
set-up and serves up a disturbing look at a world where evil is insidiously
ubiquitous, where a prominent art gallery is called Belial (as in “Now that you’re
being represented by Belial, it’s time for you to start getting used to nice
things.”) and has an employee named Mara (as per the Buddhist demon).
gathers an interestingly effective cast here, which includes Shiri Appleby (who’s
come a long way from Roswell’s Liz), Ethan
Embry (who’s come an even longer way
from Empire Records’ lovable goofus
Mark), and the creeptastic Pruitt Taylor Vince.
are also brief, but memorable appearances by Leland Orser (whose Father David
Gideon lays on the film’s central thesis via a “Thought for the Day”) and Tony
Amendola (taking a break from playing Once
Upon a Time’s Geppetto to embody Leonard of Belial).
yeah, let’s all raise those horns and savor The
Devil’s Candy, as Sean Byrne continues to show us just how wickedly serious
he is about his horror…
“I have to feed Him
children… ‘cause children are His candy.”
(The Devil’s Candy OS’ courtesy of bloody-disgusting.com.)
"Mommy told me something a little girl should know. It’s all about the Devil
and I’ve learned to hate him so.
She said he causes
trouble when you let him in the room.
He will never ever leave
you if your heart is filled with gloom.”
--“Open Up Your Heart”
body of an unidentified young woman found under strange circumstances is
brought in to the Tilden Morgue & Crematorium, where father and son
Tildens, Tommy (Brian Cox) and Austin (Emile Hirsch) set about to uncover cause
this is far from a cut and dried post
mortem, as the Tildens soon discover…
The Autopsy of Jane Doe is a rousing
“Welcome Back!” for director André Øvredal (who was last seen ‘round these
parts in the 2011 ¡Qué horror!
rundown, with Trolljegeren).
time though, there are no amusing, humorous chuckles to be had. This is dark
and disturbing stuff, courtesy of a script by Ian Goldberg and Richard Naing,
which is, honestly, a welcome surprise.
with some of Goldberg’s work on Once Upon
a Time and Dead of Summer (for
which Naing also wrote an episode), I hadn’t expected him capable of horror of
this grimness. I’m glad to be divested of that impression.
effective is the film that no less than Guillermo del Toro (“A fun, stylish,
beautifully built funhouse of horror!”) and Stephen King (“Visceral horror to
rival ALIEN and early Cronenberg. Watch it, but not alone.”) have sung its
can do naught but agree…
“Whatever the hell
happened in here… we are way past
(The Autopsy of Jane Doe OS’ courtesy of bloody-disgusting.com
Yeon Sang-ho's animated prequel to Busanhaeng (Train to Busan) actually plays better
than its live-action sequel, and that’s probably all down to the fact that it’s
a more atypical zombie cinema viewing experience than Busanhaeng.
is that, you may ask?
Animated zombies are far more
uncommon than live-action ones.
Unlike Busanhaeng, we don’t really
see your usual zombie cinema character types here.
The social commentary is far more satisfactorily evident, with some barbed
rants against country and government. And the class divide is likewise more overt
should be noted though that there are some rather cruel and vicious moments in
this one, some moments having nothing at all to do with the zombies…
that all still sounds like your cup of (zombie) tea, then take heed: ¡Qué horror! strongly approves Seoul-yeok!
(Seoul Station UK quad courtesy of impawards.com.)
"You'd be surprised at the things you find when you go
and co-directed by Jeremy Gillespie and Steven Kostanski (art and make-up veterans
on the sorely missed Hannibal, among
other things), The Void is the kind
of horror film that does not f*ck around.
per this excerpt from the synopsis on the film’s Indiegogo page (more on that
later), In the middle of a routine
patrol, officer Daniel Carter happens upon a blood-soaked figure limping down a
deserted stretch of road. He rushes the young man to a nearby rural hospital
staffed by a skeleton crew, only to discover that…
dot dot indeed.
“… [T]he body has to
adjust, of course. Adapt. We weren’t… built for this kind of thing.”
it to say that experiencing The Void
is like having rotting, putrid gobbets of Carpenter, Fulci, and Cronenberg
(along with some stringy bits of Lovecraft) flung right in your face… in the
best possible way.
plenty of dread and gruesome practical effects (to which the Indiegogo funds
went), and if you’re in the mood for some disturbing cosmic horror, you’d be
well advised to step right up and into The
“I defy God. There are
things much older. Older than time. And they blessed me.”