X (March 2022)

 

X

(March 2022)

“That's right. The deviants are already amongst us, waiting for our sons and daughters. So heed dire warnings and repent before it is too late.”

Less than 24 hours in rural Texas in 1979 turns out to be enough time to build up to a disturbing and horrendous bloodbath in Ti West’s thunderous Iguana return with X.

As intimated by its title, X follows the cast and (minimal) crew of the, ahem, “adult” film, The Farmer’s Daughters, as they shoot on the sly at an isolated Texas farm.

Dreams of wealth and fame all come crashing down though, because this is “one G*ddamn f*cked up horror picture” from Ti West, after all…

“We shouldn’t disturb him. It would only make him angry. You wouldn’t like Daddy when he’s angry.”

West has been messing about on the TV front for the past few years (stray episodes of The Exorcist and Wayward Pines among his small screen work), so his return to silver screen horror is most welcome.

The fact that X comes not just with a soon-to-follow prequel (Pearl) but also a planned sequel, makes things all the more (heh) X-citing, even though this does look like the beginnings of the dreaded “F” word.

(Uurrmm… franchise?)

Still, West does remind us, “You can’t make a slasher movie without a bunch of sequels.”

And the fact is, X does position itself as a slasher, albeit one with other things on its mind aside from gory kills.

Prominently, it takes cues from cinema (and cinematic movements) at large to inform its narrative approach.

X is also juuuust self-aware enough so that West can occasionally remind us that there’s some grindhouse fun to be had here as well.

“Everybody likes sex. It’s a gas. We’re just not afraid to admit it. Queer, straight, black, white… It’s all disco.”

While there is an actual drug that’s showcased in X, the addiction that ultimately proves to be the most dangerous here is our very human attachment to youth (with the promise of ever-elusive fame coming in a close second).

Most of the film’s characters (played by familiar genre faces like Mia Goth, Jenna Ortega, Martin Henderson, and Brittany Snow) still have their youth and are quite brazen about that; a couple of other characters don’t, and it’s the friction between those two groups that sets off X’s slasher powder keg.

So, come in for readily on-display “f*cked up horror,” but stay for all the substance beneath the bloody celluloid skin that West manages to explore here.

“Porn ain’t only gonna be for perverts no more.”

“Awww… Toast to the perverts. They’ve been payin’ our bills for years.”

“Hear, hear. To the perverts.”

Parting Shot:

Previous Ti West Iguana appearances may be found here and here, while mentions of TV’s The Exorcist may be found here and here.

(X OS’ courtesy of bloody-disgusting.com & twitter.com.)

A Rundown of the 13 Best Horror Movies I've Seen in the Past Year

[1 of 13]

WENDIGO

(January 2001)

"Wendigo is hungry. Always hungry. Its hunger, never satisfied.”

When I first saw Larry Fessenden’s The Last Winter, I had already been aware of both Habit and Wendigo, but had never had the opportunity to nail either one down for a proper watch.

Having been deeply impressed by The Last Winter (which grabbed itself a ¡Qué Horror! 2008 slot) I subsequently increased my efforts to see both of Fessenden’s earlier films, without much success.

Until now.

Just in time for the upcoming Blu-ray release of “The Larry Fessenden Collection” (more on that later), Wendigo glided right up to me, tapped me on the shoulder, and said, “Hey, look at me! I’m an awesome horror movie!”

And Wendigo was absolutely right.

In a teeny nutshell, Jake Weber and Patricia Clarkson get away from the city with their son (played by Malcolm in the Middle’s Dewey, Erik Per Sullivan), with spectacularly horrible results.

And while that’s all I’ll say as far as what the film is about--at any rate, some of you may be able to glean some of its thematic preoccupations from the title alone--I will go on the record as saying it makes for an excellent companion piece/double bill with The Last Winter, and, if anything, has made me even more antsy to finally see Habit.

Which may become significantly easier, with the upcoming Collection, which will feature Fessenden’s No Telling, Habit, Wendigo, and The Last Winter, all remastered in high-definition. The Collection will be released on October 20, to celebrate 30 years of Glass Eye Pix, Fessenden’s indie production company that has also brought us Jim Mickle’s Stake Land, Ti West’s The House of the Devil, and Adrián García Bogliano’s Late Phases (to name a select ¡Qué Horror! few).

So, yeah. Wendigo.

See it. Or wait for The Larry Fessenden Collection.

I know I will…

(Wendigo DVD cover art courtesy of fandango.com.)

¡QUÉ HORROR! 2015

Candidate #16

WENDIGO

(January 2001)

"Wendigo is hungry. Always hungry. Its hunger, never satisfied.”

When I first saw Larry Fessenden’s The Last Winter, I had already been aware of both Habit and Wendigo, but had never had the opportunity to nail either one down for a proper watch.

Having been deeply impressed by The Last Winter (which grabbed itself a ¡Qué Horror! 2008 slot) I subsequently increased my efforts to see both of Fessenden’s earlier films, without much success.

Until now.

Just in time for the upcoming Blu-ray release of “The Larry Fessenden Collection” (more on that later), Wendigo glided right up to me, tapped me on the shoulder, and said, “Hey, look at me! I’m an awesome horror movie!”

And Wendigo was absolutely right.

In a teeny nutshell, Jake Weber and Patricia Clarkson get away from the city with their son (played by Malcolm in the Middle’s Dewey, Erik Per Sullivan), with spectacularly horrible results.

And while that’s all I’ll say as far as what the film is about--at any rate, some of you may be able to glean some of its thematic preoccupations from the title alone--I will go on the record as saying it makes for an excellent companion piece/double bill with The Last Winter, and, if anything, has made me even more antsy to finally see Habit.

Which may become significantly easier, with the upcoming Collection, which will feature Fessenden’s No Telling, Habit, Wendigo, and The Last Winter, all remastered in high-definition. The Collection will be released on October 20, to celebrate 30 years of Glass Eye Pix, Fessenden’s indie production company that has also brought us Jim Mickle’s Stake Land, Ti West’s The House of the Devil, and Adrián García Bogliano’s Late Phases (to name a select ¡Qué horror! few).

So, yeah. Wendigo.

See it. Or wait for The Larry Fessenden Collection.

I know I will…

(Wendigo DVD cover art courtesy of fandango.com.)

¡Qué horror! 2012

Candidate # 29

V/H/S

(January 2012)

Brought to us by a crowd of familiar genre names (most of whom are also quite at home on the ¡Qué Horror! front) and tied together by a concept from Bloody Disgusting’s Brad Miska, V/H/S takes on two standard horror sub-genres, one (found footage) currently more popular in the mainstream than the other (horror anthology), and does both of them exceedingly proud.

Surrounded by the preponderance of mediocre and derivative found footage titles in this day and age, V/H/S crashes the party and kicks all of the bland and terribly unimaginative pretenders in the ‘nads, planting a decisive flag to prove that the form isn’t just a way for Hollywood to make a quick profit from a low production cost, but can also take the audience to some really strange and interesting places. (Even when you may guess where the story’s headed--which happened to me a number of times--the end result is still worth seeing and still holds some startling moments.)

The segments are, to wit:

“Tape 56,” directed by Adam Wingard and written by Simon Barrett, who brought us fellow ¡Qué Horror! 2012 candidate, A Horrible Way To Die, and who also both appear in the fragmented segment which acts as the connective tissue of the anthology;

“Amateur Night,” helmed by one-third of The Signal directing team, David Bruckner, and written by Bruckner and Nicholas Tecosky;

“Second Honeymoon,” written and directed by Ti West, who brought us past ¡Qué Horror! title, The House of the Devil, as well as current contender The Innkeepers (which I’ve already seen but have yet to write about here at the Iguana). This one stars Joe Swanberg, from A Horrible Way To Die, who also directs another V/H/S segment (see below);

“Tuesday the 17^th,” written and directed by Glenn McQuaid, who brought us I Sell the Dead, a previous effort I must confess, I wasn’t too overly fond of;

“The Sick Thing That Happened to Emily When She Was Younger,” directed by Joe Swanberg and written by Simon Barrett;

and “10/31/98,” written and directed by the Radio Silence collective of Matt Bettinelli-Olpin, Tyler Gillett, Justin Martinez, and Chad Villella, who also appear in the segment.

Truly exceptional work from all concerned, and I, for one, am excited to see what all these gentlemen have up their sleeves next…

(V/H/S OS courtesy of bloody-disgusting.com.)

A Rundown of the 13 Best Horror Movies I’ve Seen in the Past Year [7 of 13] 

THE HOUSE OF THE DEVIL 

(February 2009)

Ti West’s The House of the Devil is an interesting sort of oddity: it’s a film set in the ‘80’s, executed in ‘70’s style horror. 

Strains of the cinematic approach taken by West can still be detected in late ‘70’s fare like John Carpenter’s Halloween. 

In point of fact, if the slasher sub-genre hadn’t appropriated the very specific set of elements that it did from Halloween, subsequently running riot with them, we might have seen more of this subtler kind of film in the ‘80’s. 

For a lifelong horrorhead, West’s House plays like a particularly well-made yet forgotten gem from that period, dusted off and rescued from some cobweb-laden cinematic vault. 

West’s exacting approach to the material-- erstwhile babysitter gets into nasty trouble on the night of an eclipse-- is quite ably assisted by a solid cast that includes Tom Noonan, Mary Woronov, and The Signal’s AJ Bowen. 

We even get a sonic blast from the past, courtesy of The Fixx. 

Granted, I’m honestly unsure how this will play to today’s generation of cinemagoers, whose definition of “horror” is understandably informed by 21st century Hollywood trends. 

Then again, one never knows. 

Whatever the case, for any horrorheads out there who experienced the Betamax revolution firsthand, The House of the Devil should play like a case of déjà vu that never was. 

(There’s actually a limited VHS edition of The House of the Devil out there, for any hardcore old school horror collectors.) 

Parting shot: The Signal-- whose review can be found lurking in the Archive-- was on the ¡Qué Horror! 2008 rundown. 

(The House of the Devil OS courtesy of shocktillyoudrop.com.)