Editorials
[BEST & WORST ’12] David Harley’s List of the Best Horror Films of 2012!
I can’t believe 2012 is almost over. Partly because the year flew by, but mostly because not many films that came out truly left an impression. As horror fans, I think we’re in the same sort of position we were in at the tail-end of all the torture crap; we need a new movement. A new direction. A new something. Anything. We’ve gone through a few trends in the past few years (found footage, ghosts, and vampires to name a few), but nobody is doing anything interesting with them at the moment.
The reason I’m doing all this complaining as a preface for my Best Of list is because this is the first year since I’ve been writing for the site that I haven’t been able to come up with a Top Ten. Either I pulled a Rip Van Winkle and slept through the year or 2012 was a huge bummer. Below are my five favorite horror films of the year, along with a really fun honorable mention that just barely didn’t make it onto the list.
Posters (Best/Worst) | Trailers (Best/Worst)
5. ParaNorman (August 17; Focus Features)
LAIKA’s work on ParaNorman is possibly the best stop-motion to date and shows a huge improvement in terms of fluidity and design over Coraline. The story isn’t revolutionary and there’s a lull or two in there, but it’s a fun – and very charming – family horror film with some really great jokes and nods.
4. Father’s Day (January 18; Troma)
Father’s Day delivers on everything that has defined Troma as a studio for the past 40 years: depravity, sex, violence, and blood. The Astron-6 collective pulls off the insanity of an eye-patched, maple syrup farmer chasing after a genital-eating killer named The Fuchman spectacularly, resulting in a film that would have been right at home on 80’s late night television – the commercial interruptions and faux advertisements are a wonderful touch. There are a lot of other things to appreciate about Father’s Day, like the stop-motion creatures and completely bonkers third act, but the balance struck between the dark violence and humor is the most impressive.
3. Lovely Molly (May 18; Image Entertainment)
Besides for the creepy setting of an old farm that looks both lived in and appropriately run down, Lodge’s great performance, and an atmosphere of dread that is sustained for its runtime, Lovely Molly’s biggest asset is that it presents a compelling argument for both sides of the “Is it real or all in her head?” question. For almost the entire film, Sanchez and co-writer Jamie Nash smartly fuel the fire with abandonment issues, drug addiction, the questionable nature of males in Molly’s life, and the house’s sordid past – a bunch of realistic reasons that would lead someone to become unhinged. By the end, the film veers off towards one viewpoint more than the other, but the finale is ambiguous enough to let viewers draw their own conclusion.
2. The Cabin in the Woods (April 13; Lionsgate)
The Cabin in the Woods is fun and has some strange, unpredictable moments, but it’s more clever than flat-out brilliant. Goddard and Whedon really complement each other and make the material approachable and enjoyable for those lacking extensive genre knowledge, a feat considering all the nods it contains – especially to one of the greatest authors of all time. The protagonists aren’t interesting ninety percent of the time and left me waiting for Jenkins and Whitford to continue their shtick, but it’s great to see a team willing to go that far out on a limb, be that weird, and succeed more often than not over the span of one narrative.
1. John Dies at the End (December 27; Magnet Releasing)
Delightfully weird is the best way to describe Don Coscarelli’s first film in almost ten years. John Dies at the End bravely sets its tone during the opening scene and doesn’t let up until the credits roll; it’s 100% committed to spinning a yarn about two guys high on a drug that lets them see monsters, travel to alternate dimensions, and have telephone conversions through a hot dog. Coscarelli handles the material’s humor and gonzo set pieces like the pro that he is and, with the exception of some wonky CG in the third act, it’s the only film this year that kept me completely immersed and entertained for its entirety and has a high rewatchability factor.
Honorable Mention: Grabbers (TBD; IFC Films)
Grabbers is basically Tremors set in a small Irish seaside village, but with more drunk people. If you have fond memories of graboids and wouldn’t mind a few extra laughs, then the tentacled grabbers should tickle your fancy.
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
‘Infested’ Review – One of the Best Spiders Attack Horror Movies in Years
‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]
Limited Edition Morticia & Wednesday Addams ‘Monster High’ Dolls Releasing Next Week!
TWO New ‘Evil Dead’ Movies Now in the Works; Sébastien Vaniček & Francis Galluppi Directing
“AHS: Delicate” Review – ‘The Auteur’ Gives Birth to a Lackluster, Laughable Finale
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