Movies

Horror movies are as much a mainstay of Halloween as trick or treat − but why are they so bloody?

Published

9 hours ago

October 31, 2024

The Conversation

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.

Janet Leigh in the shower scene from 'Psycho.' — Janet Leigh’s shower scene in ‘Psycho’ is one of the most memorable moments in movie history. Bettmann via Getty Images

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.

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.

A movie poster from the movie 'Halloween' depicting a hand holding a big kitchen knife. — ‘Halloween’ was a huge hit and has thus far spawned six direct sequels, one offshoot, a two-part remake and one reboot trilogy over 46 years. Universal History Archive via Getty Images

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.

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.

A fan wearing a 'Ghostface' mask, complete with hollowed-out eyes, nose and mouth, and stark white skin. — ‘Ghostface’ is the villain in the popular ‘Scream’ series. James Gourley/Getty Images Entertainment via Getty Images

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

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

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Entertainment

The best horror movie you’ve never seen

Published

21 hours ago

October 30, 2024

The Conversation

Horror Film — In ‘Trick ‛r Treat,’ Sam wreaks havoc on characters who betray Halloween traditions. Legendary

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.

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.

Young man with closely cropped hair wears black suit and black tie. — Michael Dougherty’s film included a number of elements that became mainstays of the genre – he was just a bit early to the game. Robyn Beck/AFP via Getty Images

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.

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.”

Man with beard poses while wearing a gold jacket and aviator sunglasses. — Nicolas Cage attends the special screening of ‘Mandy’ in 2018. Paul Archuleta/FilmMagic via Getty Images.

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.

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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Entertainment

Dive into the Haunting Fun of the eVil Sublet Ghost Challenge

Published

4 days ago

October 27, 2024

Rod Washington

Halloween is creeping around the corner, bringing with it a season ripe for ghouls, ghosts, and things that go bump in the night. To add a dash of spooky excitement to your October festivities, ChicArt PR and Lion Heart Distribution invite you to become a ghost hunter extraordinaire with the “eVil Sublet Ghost Challenge.”

eVil Sublet: Where Horror Meets Comedy

Crafted by the imaginative director Allan Piper, eVil Sublet offers a unique horror-comedy experience. Set in a haunted apartment, the film keeps audiences on edge with subtle jump scares, thanks to the many ghostly faces that surprise viewers throughout the scenes. These spectral images were cleverly integrated into the movie as a nod to its supporters, whose faces have been transformed into haunting portraits concealed within the film’s setting.

“Having hundreds of hidden ghost faces makes the movie scarier,” explains Piper. “People will jump in the middle of a scene when they suddenly realize there’s been a face peering out of the shadows the whole time.”

Are You Up for the Challenge?

To celebrate the movie’s release, ChicArt PR and Lion Heart Distribution challenge you to a ghost hunt like no other. Here’s how you can participate:

Watch the Movie: Stream eVil Sublet on platforms such as Amazon, Fandango, Spectrum, or other cable systems. Prepare yourself for a night filled with chills and laughs.
Start Ghost Hunting: As you watch, be on the lookout for the ghost faces lurking in unexpected places throughout the film.
Share Your Ghost Count: Post your ghost count on Instagram, X (formerly Twitter), or Facebook. Be sure to tag @eVilSublet and use the hashtag #EvilSubletGhostChallenge.
Win Unique Prizes: The ghost hunter who gets the closest to the actual number of hidden ghost faces will win a special eVil Sublet T-shirt and a collectible 11×17 poster signed by stars Jennifer Leigh Houston, Sally Struthers, and director Allan Piper.
Extra-Credit Opportunity: In the event of a tie, share which ghost you found hardest to spot and see if you can stump the filmmakers themselves.
Completion Deadline: Submit your entries before the witching hour strikes at midnight ET on Halloween!

To ensure your skills are up to snuff, start by searching for the 13 hidden ghost faces in the eVil Sublet trailer—a fun teaser to the full challenge awaiting you in the movie.

Why Join the eVil Sublet Ghost Challenge?

This challenge is the perfect opportunity to dive into the spooky spirit of Halloween while enjoying a film that seamlessly blends horror with comedy. Whether you’re a die-hard horror fan or just in it for the laughs, the eVil Sublet Ghost Challenge promises an engaging and interactive way to enjoy the holiday.

Grab your friends, prepare your best ghost-hunting gear, and settle in for a night of fun. With ChicArt PR and Lion Heart Distribution leading the charge, it’s bound to be a Halloween to remember.

eVil Sublet Official Trailer

Start Your Spooky Adventure Now

Are you ready to uncover the hidden phantasms of the eVil Sublet? Watch, enjoy, and let the ghost hunting begin. Don’t forget to follow @eVilSublet on social media for updates and to share your findings. This Halloween, may your ghost-hunting skills shine!

Happy Haunting! 🕵️‍♂️👻🎬

To know more about eVil Sublet, please follow:

IG: www.instagram.com/eVilSublet

FB: www.facebook.com/eVilSublet

X: www.x.com/eVilSublet

HASHTAGS: #eVilSubletFilm #EvilSubletGhostChallenge

eVil Sublet Official Trailer

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Source: Lion Heart Distribution

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Movies

Ben Stiller’s Red Hour Films and Rivulet Entertainment Serve Up Hilarious Pickleball Antics in ‘The Dink’

“The Dink” is a sports comedy film about a washed-up tennis pro, blending humor and pickleball, featuring Jake Johnson, Mary Steenburgen, and Ed Harris, directed by Josh Greenbaum.

Published

2 weeks ago

October 16, 2024

Dolores Raphael, Michael J Sliwa

The world of sports comedies is about to get a spirited, new addition with “The Dink,” an upcoming film brought to life by the dynamic collaboration of Ben Stiller’s Red Hour Films and Rivulet Entertainment. Set to delight audiences with its unique take on the rising phenomenon of pickleball, this movie promises a blend of humor, charm, and unexpected athletic feats. With cameras rolling this November in Los Angeles, “The Dink” is positioning itself as a must-watch production.

Star-studded Cast and Creative Powerhouses

Headlining the movie is an impressive ensemble cast featuring Jake Johnson as the central character—a once-promising tennis pro who’s down on his luck. Joining him are the talented Mary Steenburgen and the venerable Ed Harris, whose roles are eagerly anticipated by fans. Adding to the film’s allure, Ben Stiller and former tennis champion Andy Roddick will make key supporting appearances, showcasing an intriguing fusion of comedy and sports expertise.

In the director’s chair, we find Josh Greenbaum, known for his work on MGM’s upcoming “Spaceballs” sequel and “Will & Harper.” Greenbaum will breathe life into an original screenplay penned by Sean Clements, who has previously written for popular shows such as “Workaholics” and “Kevin Can F**k Himself.” This creative amalgamation promises a script teeming with witty dialogue and engaging narrative arcs.

Plot Teaser

The storyline trails the journey of Jake Johnson’s character, a washed-up tennis professional, as he endeavors to salvage a club on the brink of collapse. As he seeks to reclaim his dignity and win his father’s respect, he must confront a lifelong aversion by engaging in a sport he vowed never to play—pickleball. This narrative promises both laughter and heart as it explores themes of redemption, familial bonds, and the eccentric world of pickleball.

Production and Industry Acclaim

Ben Stiller and John Lesher are at the helm, producing through the Red Hour Films banner, while Rivulet’s Rob Paris and Mike Witherill join as producers. Jake Johnson steps up as a producer, too, adding another layer to his involvement in the project. This venture follows the successful collaboration between Stiller and Rivulet on “Nutcrackers,” which premiered at the Toronto International Film Festival as the opening night feature and later sold to Hulu in a competitive acquisition.

Rivulet Entertainment is fully financing this film, with the company’s senior strategic advisor, Rick Steele, serving as Executive Producer alongside Sean Clements and Greenbaum. Known for its diverse portfolio, Rivulet’s engagement in “The Dink” underscores their commitment to pushing boundaries in entertainment.

About Rivulet Entertainment

Rivulet Entertainment Inc. continues to establish its presence in the entertainment sector through innovative production, distribution, and marketing strategies across films, television series, and music projects. Born from the acquisition of Rivulet Media’s assets, the company seizes opportunities at the forefront of creative development, all the way through to postproduction and distribution.

As anticipation for “The Dink” builds, audiences can look forward to a spirited comedy that celebrates the quirks and camaraderie of pickleball. With its stellar cast, gifted creators, and compelling narrative, “The Dink” is poised to serve up laughter and charm in abundance. Keep your paddles ready for this exciting release!