James Francis, Jr., Texas A&M University

Horror Movies on Halloween

Horror movies are plentiful in 2024, and plenty bloody. The year has seen the release of films awash in blood, such as “Immaculate,” “The First Omen” and “The Strangers.” With Halloween on the way, bloody offerings are streaming, in theaters and running in marathons on cable.

Watch them, and you’ll likely notice that as the decades pass, the directors, writers and studio executives of these films seem to produce more and more on-screen blood, violence and gore. But why?

As a professor of horror studies, I explore the depths of the genre with my students – and for us to understand the evolution of blood in horror cinema, we first consider how films reflect their times.

Alfred Hitchcock and Michael Powell created proto-slashers with “Psycho” and “Peeping Tom,” respectively. Both films were released in 1960 about four months apart, both feature serial killers, and both operate on a “tell, don’t show” visual aesthetic. Rather than show the blood to the audience, the films provide narrative cues to only suggest the blood.

Guts, gore and so much more

In “Psycho,” Marion Crane, played by Janet Leigh, is stabbed to death in the famous shower scene. But the quick-cut editing gives only the illusion of her nude body being slashed as a small amount of blood washes down the drain in black-and-white tones. By not shooting “Psycho” in color, and avoiding the image of bright red blood in the bathtub – Hitchcock’s choice – the film doesn’t seem as violent.

By the late 1960s, the restrictive Hays Code, which prohibited overt on-screen violence and the use of fake blood, was replaced by the less stringent Motion Picture Association of America film ratings system. Filmmakers could latch onto new freedoms to express fear, anxiety and dread in more visceral depictions. One way to do that – more blood.

In “Night of the Living Dead,” George A. Romero’s 1968 seminal zombie flick, the walking dead consume the flesh of the living. Even though the movie is in black and white, the monochromatic presentation does not dull the display of the undead gobbling guts and licking up blood.

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The film’s release came six months after the assassination of Martin Luther King Jr., and a clear connection between Romero’s film and the Civil Rights Movement then taking place is apparent. The movie’s heightened gore correlates to the movement’s all-too-bloody violent struggle, as Ben, played by Duane Jones, the sole person of color among the living, hides from the ghouls in an abandoned farmhouse with a group of six white people.

Ben works to keep the group safe but faces ongoing pushback from the white male characters. At the end of the film, a group of vigilantes, believing Ben is a zombie, guns him down before tossing his body into a fire.

The symbolism as a reflection of the times is hard to miss. Romero and John Russo, who co-wrote the screenplay, didn’t initially intend to make a statement on civil rights; but later, during postproduction, Romero realized the assassination of King turned his movie into a “Black film.”

Bloody metaphors

Then came the 1970s, when blood was sprayed all over the screen. But Tobe Hooper’s “The Texas Chain Saw Massacre” (1974), William Friedkin’s “The Exorcist” (1974) and Ridley Scott’s “Alien” (1979) have something else in common: They feature women protagonists who survive the unthinkable.

Once again, blood is a common denominator. Sally’s body is covered in it after escaping Leatherface; Regan’s body, along with the blood, spews green vomit; and Ripley sees an alien burst out of a crew member’s chest. But the films weren’t just gory – they were metaphors for the uphill battle for women’s rights in the 1970s.

The original “Halloween” (1978) also fits here, but with a twist. The character of Laurie Strode, perhaps an early prototype of women protagonists in horror films, connects back to a “tell, don’t show” sensibility while simultaneously embracing changing times. While the first kill shows Michael Myers stabbing his older sister, the audience views the death from the partially veiled perspective of Myers behind his Halloween mask. You see little until her body hits the floor to reveal the blood.

Nightmares and reality

In the 1980s, the slasher subgenre dominated horror – and the bloodier, the better: These movies focus on the number of kills and the creative ways the victims are dispatched.

Each sequel in these horror franchises needed to up the kills, if for no other reason than to outdo its predecessors and competitors. Audiences began rooting for villains like Myers, Jason Voorhees and Freddy Krueger, all of whom had their own theme music, and in Freddy’s case, trademark one-liners. Many of the villains had more character development than their victims, who seemed interchangeable and little more than fodder for the slasher machine.

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The 1990s had bigger-budgeted, more innovative films, such as Wes Craven’s “New Nightmare” (1994) and “Scream” (1996). Here the attacks are more personal; the stabbings are close-up. CGI, or computer-generated imagery, used in abundance in the “Nightmare” series, allowed for more creative and bloody kills.

Scarier times mean bloodier movies

Since 9/11, horror films have existed in a place where there’s no apparent motive other than violence and bloodshed. In “The Strangers” (2008), the villains tie up, torment and savagely maim their victims. In the 2009 remake of “The Last House on the Left,” it’s the villains who meet a bloody end. Contemporary horror understands how senseless killings on screen are effective, because the removal of emotion from the violence parallels real-world incidents.

By the late 2010s, horror films link to the #MeToo and Time’s Up movements, most notably in the “Halloween” reboot trilogy, as Laurie Strode once again confronts Michael Myers and the trauma he inflicted 40 years prior.

The kills in the new “Halloween” trilogy are extremely bloody and violent. They also mirror the sexual and societal exploitation of women and their bodies. Ultimately, the series allows the protagonist, and the traumatized town of Haddonfield, to acknowledge the evil, confront it and try to finally put an end to it, once and for all.

The evolution in the horror genre’s presentation of blood and gore doesn’t necessarily make for scarier movies, but they often point to the scarier times in which we live. Earlier horror films, comparatively tamer and with less blood, were often box-office successes. But today’s audiences probably appreciate them more for their artistic merits than the fear they induce.

The preferences of horror audiences change over time, much like the ebb and flow of the blood depicted in these movies. The original “Halloween” has hardly a drop; the recent reboots are over the top – but still nowhere close to the mayhem depicted in the just-released “Terrifier 3.”

What the future holds is anyone’s guess. But check out the world around you, and you’ll certainly get a bloody good hint of what’s to come.

James Francis, Jr., Instructional Associate Professor, Texas A&M University

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This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Scott Malia, College of the Holy Cross

It’s scary movie season, a time when many people watch films about zombies, serial killers, werewolves, magic and mysterious monsters who are impossible to kill.

However, as far as I know, there’s only one film that features all of those elements – and you’ve probably never seen it.

Made in 2007, “Trick ‛r Treat” consists of four interconnected horror stories, each about 15 to 20 minutes long, that all take place on a single Halloween night.

While characters from one story sometimes appear in other segments, the unifying force in the film is Sam, a mysterious creature wearing a burlap mask. He takes umbrage whenever a character disrespects a Halloween tradition, whether it’s by scaring away trick-or-treaters or blowing out a jack-o’-lantern before Halloween is over. Each meets a gruesome end.

Horror buffs eventually discovered the film. Today, it’s hailed as a modern classic. https://www.youtube.com/embed/NJ66Htmmq4M?wmode=transparent&start=0 ‘Trick ‛r Treat’ ended up forgoing a theatrical run.

What went wrong?

“Trick ‛r Treat” was produced by a major studio, Warner Bros. It featured A-list stars, such as Brian Cox and Oscar-winner Anna Paquin. It was produced by Bryan Singer, who was known for churning out hits such as “X-Men” and “The Usual Suspects.” And though its director, Mike Dougherty, was making his directorial debut, he had worked as a screenwriter on films such as “X2: X-Men United” and “Superman Returns.”

Despite all of these credentials, the film’s theatrical release was delayed from fall 2007 to 2008. Then a theater run was canceled altogether, with Warner Bros. finally releasing it on video in 2009.

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The studio never gave an official reason for pulling the theatrical release; however, some critics have speculated that the box office success of the “Saw” franchise and Rob Zombie’s “Halloween” remake were factors.

Other reports suggest that the film’s anthology format, its mixture of horror and comedy, and a plot featuring murdered children made it too hard a sell.

Given the cost of marketing and promoting “Trick ‛r Treat” to a nationwide audience, perhaps the risk wasn’t worth it for a film with a relatively small US$5 million budget. Dougherty himself said these hang-ups constituted a “perfect storm,” suggesting that no one development sealed the film’s fate.

Bypassing the box office

As recently as a decade ago, films released directly to DVD were viewed as flops or cash grabs. In fact, there’s an entire subgenre called “mockbusters” – low-budget rip-offs of studio films, such as “Transmorphers,” which tried to piggyback the success of the “Transformers” franchise, and “Atlantic Rim,” which attempted to do the same for the 2013 blockbuster “Pacific Rim.”

Then there are direct-to-video sequels meant to capitalize off hits. Disney made a lot of money in the late 1990s and early 2000s producing widely panned, direct-to-video animated features such as “The Return of Jafar” and “Pocahontas II: Journey to a New World.”

But second lives for films that were initially snubbed or ignored are nothing new.

“The Boondock Saints” was briefly screened in a handful of theaters for a single week in 1999 before being dumped into the video market. Only then did viewers find it, and it became a cult favorite that eventually begat a sequel.

The stigma of direct-to-video release has diminished over the past decade thanks to the rise of streaming, in which content made directly for home viewing can receive critical acclaim and attract subscribers.

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Actor Nicolas Cage has made a cottage industry of this format. While some have attributed his massive output in the past decade to his financial difficulties, Cage’s films “Joe” (2013), “Mandy” (2018) and “Pig” (2021) have all received critical acclaim, despite sometimes only running in a handful of theaters for a week before their release into streaming markets and video on demand.

It’s this sort of tradition that led to the rediscovery of “Trick ‛r Treat.”

Hipster horror

The appeal of “Trick ‛r Treat” is rooted in its subversion of horror tropes.

For example, women and children, who’ve historically served as victims in the genre, have a lot more agency in Dougherty’s Halloween tale. In fact, the mysterious Sam was played by Quinn Lord, who was only 8 years old when the film was shot. In the film, the character’s origin, age and gender remain undefined since Sam is masked or covered in prosthetics for the entire film, blurring the line between human and monster.

In addition, the film’s complex structure, which some speculated might have hurt its chances for commercial success, helped fuel the film’s critical praise. Dougherty called it “‘Pulp Fiction’ meets ‘Halloween,’” a nod to the interlocking structure of Quentin Tarantino’s breakout film and the setting of John Carpenter’s horror staple, which also unfolds over one Halloween night.

It has become somewhat of a cliché to say that esteemed art, initially overlooked, was “ahead of its time.”

Still, it would be fair to say that “Trick ‘r Treat” arrived on the cusp of what has been called a “horror renaissance” in the past 15 years. Directors like Jordan Peele, Ari Aster, Robert Eggers and Mike Flanagan have found critical and commercial success by branding themselves as horror auteurs.

In addition, Peele and directors like Nia Dacosta, who helmed 2021’s “Candyman,” have opened up a brand of horror that deals with social issues and identity. Dougherty’s film also anticipated a trend of horror films with a darkly humorous streak, including Peele’s “Get Out” and David Gordon Green’s reimagined “Halloween” sequels.

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Despite the film’s rocky beginnings, “Trick ‛r Treat” received a belated theatrical release in 2022, which has spurred talk of a potential sequel.

Dougherty even acknowledges that the film may owe its current popularity to its botched release. While some mainstream films disappear quickly, “Trick ‛r Treat” – currently streaming on Max – reappears every Halloween. Just like Sam.

Scott Malia, Associate Professor of Theatre, College of the Holy Cross

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Hard Rock International presents Legend with $100,000 donation for his The Show Me Campaign

Two lucky Unity members won a trip to Legend’s performance at Hard Rock Cafe London complete with a stay in the inaugural ‘Hard Rock House’ – a local home adorned with the iconic, music-inspired décor of Hard Rock Hotels

HOLLYWOOD, Fla., Sept. 13, 2024 /PRNewswire/ — Last night, Hard Rock International hosted a private “Unity by Hard Rock Come Together for Good” performance with EGOT-winning critically acclaimed, multi-platinum artist and producer John Legend at the original Hard Rock Cafe London in continued celebration of the Unity by Hard Rock™ global loyalty program launch. To show their gratitude for Legend’s partnership and support for his philanthropic endeavors, Hard Rock presented a $100,000 check to his organization The Show Me Campaign, which is committed to ensuring that every young person has the opportunity to pursue their dreams through access to inspiring education, not just by chance, but by transforming the systems that shape our children’s futures. Show Me Campaign is a fiscally sponsored program of the Social Impact Fund.

Legend at the Hard Rock

Legend performed favorite songs “Ordinary People,” “Tonight” and “All of Me” for an intimate audience of Unity members and other guests. Two lucky Unity members from Yukon, Oklahoma were flown in and sat feet away from Legend after winning the Come Together Experiences sweepstakes. They received exclusive swag, signed merchandise, a $200 Rock Shop gift card and overnight stay in the inaugural ‘Hard Rock House’ – a local home adorned with the iconic, music-inspired décor of Hard Rock Hotels. 

Legend has a long-standing relationship with Hard Rock, having performed at various Hard Rock Live music venues and helped open the Hard Rock Hotel New York. Most recently, he was part of the star-studded Unity global loyalty program launch ‘Come Together’ campaign which also featured Lionel Messi, Shakira and Noah Kahan who did a cover of The Beatles’ iconic song.

Unity by Hard Rock merges the best of casino, hotel, restaurant, retail and entertainment loyalty programs under one umbrella around the world and online. It offers an array of services for members to earn Unity Points and redeem them for free hotel nights, dining experiences and merchandise, while gaining access to offers, promotions and rewards.

“I feel very fortunate to have the opportunity to perform again at a Hard Rock venue, this time for Unity members and fans in the place where it all started, the ‘original cafe’ in London,” said Legend. “The night was special and made even more so with Hard Rock’s generous donation to The Show Me Campaign. Growing up, music was my passion, but it was my teachers who truly unlocked my potential. They taught me to write with creativity, passion, and clarity, which paved my way to becoming a successful musician. I recognize that my journey was not just about talent, but also the fortune of having teachers who believed in me. Thank you to Hard Rock for supporting The Show Me Campaign’s work to pay it forward and ensure opportunity and access to quality education for the next generation.”

“We are proud to support The Show Me Campaign and are thankful to John for sharing his talents and powerful music with our Unity members and special guests at another incredible performance curated by Hard Rock,” said Keith Sheldon, President of Entertainment & Brand Management at Hard Rock International and Seminole Gaming. “We’re thrilled with the continued growth of Unity by Hard Rock membership since its global launch and supporting the ‘Come Together’ campaign that began this spring. Members have been discovering how they can earn points for doing what they love across Hard Rock’s amazing venues including hotels, casinos, restaurants, shops and more.”

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Photos from last night’s Unity performance can be downloaded here.

To learn more about Unity member and sign up, visit unity.hardrock.com.

About Hard Rock^®
Hard Rock International (HRI) is one of the most globally recognized companies with venues in over 70 countries spanning 309 locations that include owned/licensed or managed Hotels, Casinos, Rock Shops^®, Live Performance Venues and Cafes. Its Unity by Hard Rock™ global loyalty program rewards members for doing the things they love across participating properties around the world. HRI also launched a joint venture named Hard Rock Digital in 2020, an online sportsbook, retail sportsbook and internet gaming platform. Beginning with an Eric Clapton guitar, Hard Rock owns the world’s largest and most valuable collection of authentic music memorabilia at more than 88,000 pieces, which are displayed at its locations around the globe. HRI became the first privately-owned gaming company designated a U.S. Best Managed Company by Deloitte Private and The Wall Street Journal in 2021 and has since been honored fourfold. Hard Rock was also honored by Forbes among the World’s Best Employers, as well as Best Employers for Women, Diversity and New Grads and a Top Large Employer in the Travel & Leisure, Gaming and Entertainment Industry. In the 2022 Global Gaming Awards, Hard Rock was named Land-Based Operator of the Year for the second time in four years. Hard Rock International currently holds investment grades from primary investment-grade rating agencies: S&P Global Ratings (BBB-) and Fitch Ratings (BBB). For more information on Hard Rock International, visit www.hardrock.com or shop.hardrock.com.

SOURCE Hard Rock International

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks.

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at [insert website URL] and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

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