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[Butcher Block] The Slaughterhouse Nihilism of ‘Frontier(s)’

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Butcher Block is a weekly series celebrating horror’s most extreme films and the minds behind them. Dedicated to graphic gore and splatter, each week will explore the dark, the disturbed, and the depraved in horror, and the blood and guts involved. For the films that use special effects of gore as an art form, and the fans that revel in the carnage, this series is for you.

The world of French Extremity horror is filled with bold debuts by filmmakers staking a claim on horror with torrential blood flow and visceral brutality. Like Alexandre Aja’s explosive entrance in horror with High Tension, Xavier Gens brought Frontier(s), a film originally meant to be a part of the lineup for the independent horror movie festival, After Dark Horrorfest, in 2007 but was released separately once the MPAA gave the film an NC-17 rating. Drawing from the intense riots in France after a far-right candidate circled closer to election, Gens penned a brutal script that featured a gang of thieves fleeing to Amsterdam amidst politically charged rioting only to find themselves prey to a family of neo-Nazis on the border. Angry, violent, and unrelenting, Frontier(s) brings the familiarity of The Texas Chain Saw Massacre and dials it up to extreme levels.

Final girl Yasmine, played with admirable ferocity by Karina Testa, begins the film in an emotional place. Her brother is shot during their robbery stunt, using the riots as cover, and mourns his passing as the police are closing in. She’s also three months into an unwanted pregnancy, her brother’s dying breath begs her to keep the baby. It gives Yasmine moral ambiguity that most final girls lack, but more importantly it gives her the mental fortitude to survive the neo-Nazi family picking off her friends one by one. And of course, this family happens to be cannibals.

Between the cannibalism, the pig pen, and meat processing facilities, this means a ton of gruesome slaughterhouse style deaths. Meat hooks through flesh, table saws through skulls, cringeworthy severing of Achilles tendons, exploding heads, and even one character whose burned alive in a boiler, it’s easy to see why the film earned its NC-17 badge of honor. Even still, Gens held back on the gore; his original script featured two scenes not included in the final film, one of which was considered too grotesque. The scene was to delve into the family preparing a human body for the big family dinner scene, and would have included a shot of the body being skewered from anus to mouth. The other was a scene featuring one of the robbers fighting off the underground children with an axe, ultimately cut to keep the mystery around them.

Gens had a difficult time getting the film made initially, thanks to the extreme violence. It wasn’t until Luc Besson (The Fifth Element, La Femme Nikita) signed on as producer that gave Gens the freedom to go wild, sans human dinner preparation scene. Between Gens and cinematographer Laurent Barès, Frontier(s) is visually arresting horror movie. But of course, the makeup team deserves a ton of credit for the visceral trauma the characters endure (or don’t endure). Sabine Fevre, Nicolas Herlin, and Laetitia Hillion were all nabbed at the early stages of their makeup effects careers and fresh off beloved French horror film Inside before bringing their talents to Frontier(s).

Frontier(s) is the first in French horror to really draw comparisons to the wave of horror branded “torture porn,” with its level of violence and gore resembling films closer to Hostel and Saw. The very core premise also leans heavily into The Texas Chain Saw Massacre as well, though way more bleak and nihilistic than its counterpart. Even still, Frontier(s) is an unrelenting bleak ride that never lets up. It’s an onslaught of visceral violence enhanced by very talented people both on screen and behind it.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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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