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Overlooked Indie Horror Films You Should Watch: Volume 4

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Time keeps rolling by, and so do outstanding horror films that are getting lost in the crowd of movies being released in theaters, on Blu-ray, and streaming every week. Horror film archaeologists, welcome to Volume Four of Bloody Disgusting’s continuing column digging through the recent past of film releases and featuring worthwhile horror movies that you may have missed the first time around.

Share them with your friends, follow the filmmakers, and be sure to visit our previous installments if you haven’t read them already.


Amusement (2008)

Amusement seems on its face to be a standard slasher-style stalker film. However, it cleverly uses the conceit of a group of friends with a shared secret from their past to create a pseudo-anthology film in which each of the friends deals with a stalker-killer in a slightly different horror subgenre style.

Written by Jake Wade Wall, who also wrote the remakes of When a Stranger Calls and The Hitcher, the film is smarter than its packaging suggests. With a cast boasting Vikings’ Katheryn Winnick, Veep’s Reid Scott, and Gotham’s Jessica Lucas, Amusement is a fun horror movie that is self-aware but not self-indulgent.


Berberian Sound Studio (2012)

From Peter Strickland, director of the taut sexual thriller The Duke of Burgundy, comes the chilling and uncomfortable Berberian Sound Studio. Gilderoy is a British sound engineer hired to work on an Italian horror film. As he dives deeper into his job and the film, he begins to start losing track of fantasy and reality.

Starring Toby Jones, the fantastic character actor normally confined to small roles in films like Captain America and The Hunger Games, the film has a stunning soundscape that insinuates everything you don’t see in an effective and unnerving way. A clear love letter to Italian horror and Argento’s Suspiria in particular, the demented director in the film is played by Cosimo Fusco, who previously acted in Argento’s 2004 film The Card Player.


The Dirties (2013)

The found footage horror answer to films like We Need to Talk About Kevin and Elephant, writer/director/star Matt Johnson created an impressive achievement with The Dirties. The film begins as a documentation of a high school film project from two friends who are unpopular and bullied. The film takes a slow turn when one of the friends, Matt, decides that their film should be about getting back at the bullies, and it should be for real.

Johnson’s performance is a revelation, playing Matt as sympathetic and isolated, but also with clear indications that he isn’t fully stable. Johnson recently wrote and directed the film-oriented conspiracy thriller Operation Avalanche and the TV series Nirvanna the Band the Show. Intimate, humorous, tragic, and disturbing, The Dirties is worth finding.


Entrance (2012)

Entrance is a horror film about isolation in the midst of friends, about the danger that hides itself in plain sight in society. Co-directed by male directors Dallas Richard Hallam and Patrick Horvath but written by Karen Gorham and Michelle Margolis, the film understands and sympathizes with the numerous indignities and fears that women quietly deal with on a daily basis.

The film about young Suzy navigating life in Los Angeles is a slow burn, building tiny clues into its naturalistic opening hour, only to blow up expectations in the spectacular single-take final act that codifies all of the nightmare possibilities into a terrifying reality. The film is not for everyone, but those who get its tone and style will be fully invested.


Good Neighbours (2010)

Clever and nasty with twists to spare, Good Neighbours is a Canadian horror-thriller that has Hitchcockian suspense with added violence and sexuality that Hitchcock didn’t live long enough to be able to utilize in his work. In the film’s plot, a serial killer terrorizes a Canadian neighborhood, and two neighbors begin to wonder about the new guy who just moved in.

The cast is fantastic, in particular the central trio of Jay Baruchel, Emily Hampshire, and Scott Speedman. Actor Jacob Tierney gets behind the camera for this film and gets the most of his excellent cast and the source material, Chrystine Brouillet’s novel Chère voisine. The film is worth tracking down and watching with a group of like-minded friends and movie watchers.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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