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With Comedy Stars Dominating the Horror Scene, Why Shouldn’t We Be Open to Chris Rock’s ‘Saw’?

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Chris Rock is behind the next Saw movie. And at this point, that shouldn’t even surprise us.

We are living in interesting, glorious times for the horror world, with horror movies shattering box office records, winning Academy Awards and crossing over into the mainstream in big ways. Many fans have referred to the current period we find ourselves in as something of a “golden age,” and you won’t find me disagreeing. But what’s most unique and interesting about this particular “golden age,” the most recent of many for the horror genre, is that several of its notable leaders started their careers doing the same thing: making us laugh.

The two horror films that have actually managed to earn Academy Awards nominations in recent years are Get Out and A Quiet Place, with the former being nominated for Best Picture and winning Best Original Screenplay. And they share the common link of coming from unexpected filmmakers: Jordan Peele and John Krasinski; Peele rising to prominence as one-half of the comedy duo “Key & Peele” and Krasinski becoming a household name thanks primarily to “The Office.” Peele of course followed Get Out with this year’s equally masterful Us, while Krasinski is currently at work on expanding the world of A Quiet Place with a sequel.

Whatever boxes we put them in based on their previous work, Peele and Krasinski broke completely free of them with their Oscar-nominated horror films, earning rave reviews along with incredible box office success by bucking expectations and blazing bold new paths. And they’re not the only comedians who are making names for themselves on the horror scene, as last year’s hugely successful Halloween, a direct sequel to the original film, was co-written by Danny McBride and directed by Pineapple Express helmer David Gordon Green.

As it turns out, McBride and Gordon Green are big time fans of horror movies, and they both proved with Halloween that they’re as good at scaring us as they are making us laugh. As you may recall, many fans of the franchise originally balked when they heard that McBride was behind the return of Michael Myers, similar to the way eyebrows were initially raised in the horror community when both Jordan Peele and John Krasinski announced upcoming horror movies. But with this week’s announcement of Chris Rock being the brains behind a new installment in the Saw franchise, I’m not so sure anyone can even balk anymore. After all, in the wake of Get Out, A Quiet Place and Halloween, shouldn’t we know better?

(Over on Twitter, even Seth Rogen recently teased an “action/comedy/suspense/thriller” he’s working on to direct, and we cannot wait to learn more about that one.)

Of course, names like Peele, Krasinski and McBride are far from the first to enter our lives through comedy and eventually make their mark in the horror world. Before making classic horror films such as Misery and An American Werewolf in London, Rob Reiner and John Landis cut their teeth with comedies, making us laugh before giving us nightmares. And let’s not forget about Kevin Smith making a highly unlikely transition to horror with Red State and Tusk, and Bobcat Goldthwait similarly surprising with the found footage film Willow Creek.

So what link, if any, is there between comedy and horror? It’s a question all of the aforementioned filmmakers have been asked over the years, and the various answers they’ve provided make it clear that there is indeed a direct link, however unlikely, between the genres.

Whether it’s to make [the audience] laugh or make them scream and shit their pants, it’s all in the engineering of the pace,” Danny McBride noted in a chat with Business Insider back in 2017, making a connection between the similar approaches to setting up/paying off jokes and scares. Jordan Peele similarly told No Film School back in 2017, “One of the beauties of the horror genre is it has a lot of connections to comedy.” During that same interview, Peele elaborated, touching upon another commonality that’s integral to his own work:

“This is true for both horror and comedy: if they work, its because there’s some kind of social truth.”

What’s interesting about Krasinski, unlike Peele and McBride, is that he’s not a huge horror fan himself; but that may actually be why he makes for such a great horror filmmaker. Think of William Friedkin directing The Exorcist or Stanley Kubrick directing The Shining. Sometimes the best horror comes from artists who *aren’t* deeply immersed in horror.

Speaking about his unlikely career path, Krasinski told Independent last year, “I hadn’t thought of this until someone at South by Southwest, a friend of mine, said: ‘I never pegged you to direct a horror movie.’ And I said, me neither, because I couldn’t even watch horror movies. And he said: ‘Oh, that’s why this is so good. Because, if you were shooting to make one of the best horror movies, you would have missed completely. And, I think the fact you went into it writing a family drama, that you knew people would bond with this family, the scares are ten times scarier, because I don’t want anything to happen to this family. So, now it makes more sense to me why I liked this movie and why it feels fresh, because you weren’t gunning for something that you knew very well.’ And I think that that’s really interesting to me. I’m happy that some of the freshness of the movie might just be my ignorance of the genre.”

So what makes comedians so good at making horror movies? There’s no one answer that applies across the board, of course, but it’s becoming clear as the years go on that there is indeed something about a flair for comedy that translates to a talent for terror; it’s no coincidence that some of the most beloved horror movies are horror-comedies. And at this point, given the recent track record of comic talent making the leap into horror, who in their right mind is even questioning such a transition anymore? Only time will tell whether or not Chris Rock is a fitting pilot for the Saw franchise but for now, we have no reason to be worried.

I’ve been a fan of SAW since the first film in 2004,” Rock said this week. “I am excited by the opportunity to take this to a really intense and twisted new place.”

I literally have *zero idea* what a Chris Rock-conceived Saw movie could even possibly look like. And that’s nothing if not a very, very exciting prospect right about now.

Every artist deserves the chance to break out of whatever box they’ve found themselves in, and if history is any indication, that often means good things for you and I: horror fans.

Writer in the horror community since 2008. Editor in Chief of Bloody Disgusting. Owns Eli Roth's prop corpse from Piranha 3D. Has four awesome cats. Still plays with toys.

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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