Editorials
10 Underseen Horror Anthologies You Should Watch!
Horror anthologies have long been a mainstay in the genre, and in the recent years has seen a bit of a revival. The recent successes of the V/H/S series, ABCs of Death, Southbound, and even this year’s XX has kick started a trend of sci-fi/horror anthologies on the small screen as well, with news of multiple anthology series in the works by AMC arriving just last week. While the last time horror anthologies peaked in popularity was the ‘80s with hits like Creepshow, Creepshow 2, and Cat’s Eye, the truth is that they’ve always been around. Some have just slipped under the radar. Here are 10 horror anthologies that have fallen through the cracks, but are worth seeking out:
Nightmares (1983)
Originally made for network television, intending to be a pilot for an anthology series for NBC, it instead became a theatrical feature for Universal. While its network television roots mean a distinct lack of gore, the stories make up for that. There are a lot of notable actors in the anthology as well, from Emilio Estevez as the hardcore gamer fighting for his life in “The Bishop of Battle,” to Lance Henriksen’s priest struggling both with his faith and a demonic black Chevy in the desert in “The Benediction,” each segment is grounded with talented leads. While some of the effects are dated, particularly in “Night of the Rat,” the stories are well done and entertaining enough to overlook this. For those that prefer urban legend based segments and anthologies without a wraparound, this is for you.
Tale of Tales (2015)
Based on the Pentamerone, a collection of 17th-century Italian fairytales, Tale of Tales is an anthology of fairy tales in the darkest sense. It also doesn’t play like a traditional anthology, as all segments are fragmented and intertwined until it briefly converges at the end. Stories of a king who feeds blood to his pet flea until it grows monstrous, to a princess kept prisoner by an ogre, to the queen so desperate for a child that she’s willing to eat the heart of a giant water dragon, each story is filled with blood and sorrow. As with most old fairy tales, these are not tales of sweet happiness, but gruesome tragedies. It’s a polished, well-shot film lead by a star-studded cast, and yet it’s often overlooked.
Dead of Night (1945)
This classic British horror anthology came about at a time when few horror films were produced and remains highly influential in the genre to this day. The clever wraparound sees an architect meeting guests at a country home, and despite having never met them, he can predict events in the house before it happens. To assuage his increasing anxiety over this, each guest tells their own tales of the strange and supernatural, leading to each of the five segments. The most memorable of which is the final sequence featuring the creepy Ventriloquist’s Dummy. Dead of Night marks the rare instance where the wraparound segment holds the most gut punch ending, and has been the direct inspiration behind a lot of more recent films like 2009’s Triangle.
The Dark Tapes (2017)
I know, I know, found footage isn’t exactly enticing these days. Which is probably why this anthology isn’t as well-known as it should be. A micro-budget affair that interlocks four tales of terror, this anthology works well because it nails its atmosphere. Writer/director Michael McQuown often lulls the viewer into expecting more of the same from the found-footage sub-genre before cleverly subverting much of its tropes. The constant shake-up of the found footage formula is fun enough, but there’s a lot of dread and tension throughout that keeps your attention. Granted, as with most anthologies, not every segment sticks its landing, and the final segment before the wraparound concludes proves to be the weakest. Even still, there’s a lot of surprises to be found here, which makes the upcoming prequel/sequel something to look forward to.
Body Bags (1993)
Originally intended to become a series like HBO’s Tales From the Crypt, Showtime opted not to pick up the series shortly after filming of the pilot film began. It’s a shame because this anthology, directed by John Carpenter and Tope Hooper, is a treasure trove of Easter eggs and cameos for horror fans. Set in a morgue, a creepy coroner (played by Carpenter himself) introduces the three segments. The first segment, “The Gas Station,” takes place at an all-night gas station near Haddonfield, Illinois and boasts appearances by horror legends Wes Craven and Sam Raimi. Even the American Werewolf himself, David Naughton, plays a role in this segment. Look for special effects wizard and The Walking Dead director Greg Nicotero in the segment, “Hair,” and spot trailblazer Roger Corman in the final sequel, “The Eye.” Cameos aside, each segment is so entertaining that they stand on their own. It’s a shame this never became the series that was intended.
Campfire Tales (1997)
Direct-to-video films often get a bad rap in terms of quality, but sometimes a rare gem is overlooked as a result. Such is the case with Campfire Tales, an anthology New Line Cinema dumped onto VHS. As the title suggests, the wraparound features a group of teens telling each other urban legends around a campfire. The stories are familiar, “People Can Lick Too,” “The Hook,” “The Honeymoon,” and “The Locket,” yet they’re well done and the cast is likable. These are characters you root for, even if you know where these urban legends are headed. While not the most innovative, this anthology still delivers on tension and fun.
4BIA (2008)
Ignore the not so great title; this Thai horror anthology is far more deserving of a larger audience. Comprised of four horror directors; two of which are behind the extremely creepy and well-loved Shutter and Alone. Even the weakest segment in this anthology is still a huge success in comparison to most anthologies. Each director brings their own style and flavor, with “In the Middle” offering a crowd-pleasing sense of humor to camping in the woods tale of terror to “Happiness” bringing a claustrophobic creep fest. From veteran horror directors to up and coming talent, 4BIA reminds us that Thailand is a leader in Asian horror and it shouldn’t be missed.
Phobia 2 (2009)
The sequel to 4Bia is bigger and better in every way. Upping the ante to include 5 directors instead of 4 (therefore also dropping the terrible title), this sequel became a smash hit in Thailand and currently sits at number 3 in terms of highest grossing Thai horror films. Comprised of segments directed by horror vets, including the return of Banjong Pisanthanakun and Visute Poolvoralaks (Alone, Shutter), this horror film works as both a solid sequel and a stellar anthology. Light on gore but high on scares, there’s also an underlying theme of karma running through its segments.
Deadtime Stories (1986)
Ok, this anthology can’t be described as good, but it is a lot of B-movie fun. The wraparound sees the worst uncle in movie history telling his nephew three bedtime stories, all of which are warped versions of fairy tales. He clearly isn’t a fan of kids, but his nephew keeps reporting a monster in the closet and won’t go to sleep. Tales of killer witches, Little Red Riding Hood and her stalking werewolf, and an urban take on The Three Bears starring Oscar winner Melissa Leo as Mama Baer in one of her very first film roles. There’s a lot of well-done practical effects, but this anthology is far more interested in biting humor than horror. Fans of ‘80s B-horror will enjoy this romp, just don’t expect greatness.
Necronomicon: Book of the Dead (1993)
Sporting a prosthetic chin reminiscent of Bruce Campbell, Jeffrey Combs plays H.P. Lovecraft in the wraparound story that sees the prolific horror writer copying stories from the Necronomicon in the middle of an old library guarded by monks. Each copied story plays out on screen, a trio of Lovecraftian tales of horror and gore, each one progressively weirder than the preceding tale. While some of the camera work and dialogue feels like a made for cable movie, the special effects are top notch and what really elevates this anthology above most. Hardcore Lovecraft purists might take issue with the way these tales play out, but those who love oozing gore and fantastic creature effects should not skip this one. Necronomicon: Book of the Dead is a very fun anthology that often goes unnoticed.
Which horror anthology do you wish more people would see?
In this day and age, the word “troll” is often used to describe various online nuisances. Yet as abundant and irksome as the modern troll can be, they aren’t usually as fearsome as their mythological counterparts. I’m not talking about the small and gentler versions that have become more common to see in media. No, there are much bigger and scarier trolls out there—and André Øvredal’s movie Troll Hunter is one of the best places to find them.
It doesn’t take long for Troll Hunter (or Trolljegeren) to dump the Blair Witch Project-esque setup and aim for something a lot fresher. The trajectory of the story is augmented by Otto Jespersen’s character Hans, the titular Troll Hunter. The second he comes barreling out of the deep, dark woods and shouts “troll” at the camera, this movie takes a turn into what feels like uncharted territory. Not only subject-wise, but also conceptually.
For fantastical and made-up subject matter in cinema, found footage is a fast way to add a guise of believability. After all, what we accept to be the most crucial aspect of documentaries—the truth—rubs off on pseudo-documentaries, despite our understanding of the pretense involved. That is what Øvredal delivered with Troll Hunter: a movie so convincing that some viewers wondered if trolls really do exist. So, had this been straightforwardly made, it likely wouldn’t have been as effective. Conventional narratives would be more inclined to treat something like trolls as flat out unreal, and never try to convince the audience to think otherwise.
Hans petrifies the three-headed Tusseladd troll.
The viewers, like the characters trailing Hans, are quickly thrown into the deeper end of that extraordinary story. They have to process all this new information while staying on the go. So, although there is no significant amount of meandering, narratively or physically, there is still a good amount of atmosphere, not to mention tension building. It’s never anything frightful, but then again, Troll Hunter isn’t your standard offering of horror; it’s more on the low end of the dark fantasy spectrum. We aren’t ever spirited away to a faraway world—we stay in rather familiar surroundings, as well as dip into those less so. The outcome is a movie where you’re constantly more in awe than in terror.
As fantasy fiction might do, Troll Hunter prefers not to deal with incredulity. There is no time to waste on doubt, as interviewer Thomas (Glenn Erland Tosterud), soundperson Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen) all follow Hans around, recording whatever this character is willing to reveal about his bizarre job. Of course, the Troll Hunter himself is not an open book; in that respect, the diegetic documentary fails to fully capture and unpack the more interesting of its two subjects. Yes, all those giant, monstrous trolls are indeed incredible, but understandably, your mind wanders to their pursuer. What kind of person signs up for this gig and then chooses to stick with it for so long?
Reviews have called out Troll Hunter for its lack of character development. In regard to Thomas and his fellow documentarians, that criticism is valid, but bear in mind, they aren’t the focus of the story, either. Meanwhile, Hans is a well-crafted character. At least better than first realized. Before he was introduced, Hans had already grown tired of the troll grind. Fed up with that low compensation for his services, resentful of the bureaucracy, and wanting to expose his employer on a large scale, Hans’ discontent is glaring.
Then there are those finer details about the Troll Hunter, such as that indifference to both the natural splendor of his everyday surroundings and the affections of an obviously smitten colleague, that also suggest some level of despondency. So it is fair to say this movie doesn’t feature any sizable growth for its characters; however, the namesake isn’t underwritten. No doubt, putting a real-life character like Otto Jespersen in that role is partly why Hans is so fascinating—maybe even relatable.
Otto Jespersen as Hans the Troll Hunter.
There is always a small risk whenever using the term “mockumentary” to describe a found-footage movie, as the word could imply humor where there is none. In the case of Troll Hunter, the term’s usage is appropriate. Some folks have claimed the English-dubbed version has the more comedic tone, however, the Norwegian cut isn’t exactly humorless. Apart from the trolls’ absurd appearances, this is a movie where the characters nearly choke on the monsters’ farts, and Christians are like walking targets. Hans’ complete apathy towards everything is another cause of laughter. Overall, the comedy is intentionally dry and inconsistent. Unfunny, though? Absolutely not.
In a movie where endemic creatures are maltreated, as well as disavowed from living freely and peacefully, it’s hard not to notice the ecological message buried beneath the story. In addition to that is the unmistakable political satire. There is this whole business about intrusive and unsightly power lines—like trolls, they’re big blemishes on the land—that leads to what is perhaps the movie’s funniest moment. The scene in question is that one where certain electric lines, the ones secretly being used to keep the trolls at bay, go in a loop and don’t actually send power to any residents. Yet the monitors of said lines don’t find this at all weird. So it stands to reason that Øvredal was having a go at those who accept the government’s doings without question.
Looking past the fact that trolls aren’t actually real, this movie is an enlightening source of information. And not just for international audiences; Norwegians, too, get schooled about their homeland’s own mythology. It’s also evident from everything on screen that Øvredal and his crew were enthusiastic about the topic. The creature designs are the most indicative of that zeal; those imaginative yet myth-accurate manifestations are equally amusing and grotesque. One second you’re laughing at their phallic noses, the next you’re white-knuckling during a hairy sequence. Most surprisingly is how well the trolls’ visual effects hold up after fifteen years. It’s not all spotless, but on the whole, they remain impressive.
Vouching for a mockumentary about trolls isn’t easy, but those who do come around and give it a shot will more than likely be grateful for the recommendation. For Troll Hunter is a real find in that vast and varied genre we call “found footage“.
A bridge troll reaches up for food and finds Hans decked out in armor.
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