Horror

dir: Jordan Peele

2017

This has been a long time coming.

In 1983 (I first watched it in 1984 at age 12, probably way too young) Eddie Murphy was known not as the guy starring in movies as most of the characters wearing fat suits and farting all the time, but as probably the biggest stand up comedian in the world. And, this in itself is pretty amazing, he was 22 at the time when Delirious was recorded.

Some of the material is ageless, some of it has aged horribly (especially to do with LGBTIQ issues and terrible AIDS jokes), but generally it holds up. What is it about African-American comedians and terrible jokes about gay, lesbian and trans people, amiright? Wait, don’t walk away, I’m sorry about the racist generalisations, sorry!

Setting all of that aside, I remember very clearly that towards the end of the concert movie, Murphy points out one of the many differences between “white” people and “black” people, at least as it relates to horror movies. In horror movies, a white family moves into a haunted house ignoring all the obvious signs that something terrible is going to happen, because, I dunno, gentrification or something.

Murphy’s counterpoint was, and the punchline / capper to his whole show, was that a black family that walked into a beautiful house, listed all the great attributes of the place and the neighbourhood, but heard a ghostly voice clearly say “Get Out!” would instantly say “Too bad we can’t stay” and immediately get the fuck out of there.

Thank you and good night! I’m here all week, try the veal etc etc. Look, I can’t argue that it’s still as funny, or that it’s funny out of context, but since it’s stayed with me all these years, it clearly made an impression upon me. The moment I heard there was a film made by African-American comedian and that it was called Get Out, the first thing I thought of was the classic Eddie Murphy joke.

So too, since there was a racial edge to that previous joke, did I assume that it would be a horror flick that had something to say about White America versus Black America, and, good goddamn, was that accurate.

Get Out doesn’t have a set up whereby blacks are forced back into slavery, or are hunted down by the Klan or the Secret Service or anything. It’s at the same time a more insidious and more horrifying / daft proposal. The racism isn’t the worst element, but it’s the enabling element that lets the rest of the story cascade along.

A guy goes to his girlfriend’s parent’s place in order to meet them for the first time. It’s the perfect set up for a Look Who’s Coming to Dinner type of scenario, but the girl reassures her boyfriend that her affluent, professional, liberal parents will love him too. Just like in Look Who’s Coming to Dinner.

He, being Chris (Daniel Kaluuya) thinks this is a disaster in the making. She, being Rose (Allison Williams, playing a slightly less horrible version of her Marnie character on Girls), hasn’t warned her parents that she’s dating an African-American chap. Chris might be expecting some hostility, some tension. This is a nation that elected a white supremacist president just after the first African-American president for revenge, after all.

dir: Christopher Krupka

2015

It’s amazing what you can do with no budget, a bunch of people, a couple of cheap cameras and some terrifying sound design.

The Lights is an Australian horror flick that is unpolished, messy and very clunky in some ways, and it’s definitely an exponent of the found footage horror genre, which are a sequence of words alone that could make people flee to the hills, but in some quite powerful ways it succeeds in what it sets out to do.

There’s no doubt that it could have benefited from some more money, maybe a little more time on the script. But there is no doubting that even if The Lights uses a bunch of familiar elements in familiar ways, it still manages to do exactly what it sets out to do: unsettle, confuse and terrify.

A lot of horror flicks use the found footage conceit, yet the way it’s used in The Lights is somewhat confusing. Someone, someone who we hear ask questions of some of the participants / survivors, is filming whatever’s going on (with a few scenes of other footage thrown in from phones and other cameras as well) giving it the feel of a ramshackle documentary spliced with found footage. But whoever the unseen person filming is, despite the fact that we know it’s not one of the main four characters, there’s no real explanation as to who they are and why they’re filming.

dir: Marc Forster

I wonder if there is anyone on the planet not sick of zombies as yet.

We, and I’m speaking on behalf of all of cinema-going humanity here, are even more sick of zombies than we are of vampires. I am so sick of vampires and zombies that I generally avoid new movies with them even if people I really like are in them, and I hear that they’re good films. I’m sick of them all, and I can’t be summoning the energy and time to watch them and review them, I just can't do it.

Except for this one. Come on, I was curious.

I have read the book this is based on (another reason for my undead care-factor fatigue), but the film has about as much to do with the book as any other flick about zombies has to do with the book: they’ve both got zombies in them, and that’s about it.

Out of the dry reportage of the novel comes a story with an allegedly relatable hero (Brad Pitt, as if any mere mortal men can relate to him) and a story at a scale we can grasp despite it being about a global epidemic of flesh-chomping. It’s the right approach, I guess. They also have to make it even more relatable by making the main guy motivated to find a solution to the zombie apocalypse by his having a redheaded wife and redheaded children: so if he doesn’t find a ‘cure’ or whatever, not only will everyone die, but some redheads too!

dir: Bradley Parker

What a waste.

It’s one thing to make a flick set around Chernobyl, yes, THAT Chernobyl, being the site of the worst nuclear accident (publicly known) to occur thus far. Let’s just ignore the one that happened at Fukushima just recently, I guess, at least until the Japanese start making monster movies about it.

It’s another thing entirely to film such a film in the actual location you’re setting it in. I mean, that just blows my mind. That’s a great idea. Even allowing for the greatness of the idea, I can see that, necessarily, there are only two kinds of films you could set at such a location: documentary or horror movie. Comedy, well, not even Adam Sandler or Roberto Benigni would be able to get away with it. Romance, hm? Love in the Time of Lethal Radiation?

I am somewhat obsessed with the place. Perversely, the best realisation of something set there thus far have been the Ukrainian-produced S.T.A.L.K.E.R games, which used the location very effectively, but I’m not pretending it did so in a deep or meaningful way. It’s an excuse for some very creepy, very effective first person shooters where you get to blow away a whole bunch of horrifying (but poorly animated) mutants, tracksuit-wearing hoods and some very hardcore mercenaries, on your way either to death, escape, or a basket of puppies wearing cute scarves.