Connect with us

Editorials

Meagan Navarro Revisits the 10 Most Disturbing Horror Movie Moments of 2019

Published

on

*Keep up with our ongoing end of the year coverage here*

Horror films seek to evoke fear in a variety of ways; some opt for creeping dread and some for unbearable tension, while others employ jump scares. And then there are those films that seek to elicit a primal sense of disgust, leaving viewers recoiling in their seats from the disturbing imagery on screen. While horror tends to be subjective, even the most hardened of horror fans are oftentimes not immune to this particular tactic. 

2019 had no shortage of disturbing moments in horror, rendering audiences uncomfortable with boundary-pushing scenes. Whether it’s taboo-breaking sex or violence, we look back at the year’s ten most disturbing moments in horror.

In case it’s not apparent, there will be spoilers…


The Furies – Facial Peel

This Shudder exclusive slasher follows a kidnapped woman forced to play a deadly game where creepy masked killers hunt women. Things get incredibly gory quickly, as evidenced by this early kill. Out of the gate, a killer catches one of the women and pins her to a tree. He puts his ax to her face. The struggle to save herself means that the ax’s blade is slowly driven into her flesh until it separates her face from her skull entirely. Slow, precise, and visceral.


Pledge – Medieval Hazing

A group of college freshmen looking for acceptance and a fun party instead find pain and suffering at the hands of an elite fraternity. College hazing gets downright brutal in this horror thriller, and sometimes even medieval. One of the victims suffers a violent end when he’s held down to a table, a rat is placed on his bare stomach that’s then covered with a metal pot, and his tormentor takes a blow torch to the pot. In a desperate bid to escape being burned alive, the rat chews down into the pledge’s soft flesh.


Midsommar – Ättestupa

The Hårga people perform numerous bizarre rituals in their Midsommar celebration, though Ättestupa is the first to give the visiting outsiders a clue that something is seriously amiss. After a cheerful feast, everyone gathers at the base of a cliff. Above, an elder woman slices her palm open and smears it on a rune-carved rock before plummeting to her death below. An elderly man follows suit, only a boulder breaks his fall, and he doesn’t die upon impact; though his body is shattered and mangled. The Americans watch in horror as a group of Hårgans calmly bring over an oversized mallet to finish the job in primal fashion.


Brightburn – Wrecked

Brightburn offers up a few standout gore moments, including the cringe-worthy eye trauma moment glimpsed in the trailers. The worst of what happens to that particular victim, though, happens off-screen. It’s the drawn-out death of Uncle Noah that disturbs the most, however. Brandon picks up his uncle’s truck and drops it; Noah’s jaw collides with the steering wheel. Completely severed, Noah tries to hold his jaw back together while slowly gurgling and choking on his blood. All while Brandon watches in mild curiosity. Noah’s hand drops with his final breath, giving the viewer one last ghastly sight of carnage.


Hagazussa – Goat’s Milk

Set in the 15th century Alps, Hagazussa is a tale of foreboding isolation, paranoia, and superstition. As a child, Albun is forced to watch in horror as her mother deteriorates and dies from illness. The superstitious villagers believe them to be witches, so the death leaves her entirely alone. As an adult, Albun doesn’t have much company outside of her goats. The profound depths of her loneliness and repression are conveyed through one of the most disturbing moments of the film; the eroticized milking of her goats. It’s as illustrative as it is uncomfortable. 


Knife + Heart – The Murder Weapon

A modern-day Giallo set in Paris of 1979, Yann Gonzalez created a vivid ode to grindhouse cinema. The plot sees a masked killer targeting a gay porn production company. Victims tend to die brutally in Giallo, but the brutality reaches an excruciating and shocking level here. The killer seduces his victims in clubs, engages in foreplay, and pulls out his black dildo. It hides a knife, which he then uses to penetrate his victim. The double meaning is very much intentional.


High Life – The F-Box

Claire Denis’s latest is a slow, meditative burn that refuses easy categorization, meaning it won’t appeal to everyone. Regardless, the film’s ability to disturb on a profound level applies to all viewers. Sex and violence are power aboard the deep space vessel, and Denis gets explicit. We’re given an up close and personal look at exploding heads, explicit sex and sexual violence with close-ups of blood, sweat, urine, and semen; and High Life is particularly fond of the latter. Dr. Dibs (Juliette Binoche) is determined to collect all the sperm in her bid to see a baby carried to term in space, and she uses the “Fuckbox” as a tool for that as well as relieving herself. The first introduction to it disturbs; a small boxlike room filled with leather straps and dildos, with Dibs writhing on it in sweat. No 2019 film contains as much body fluid as this one.


Lords of Chaos – Suicide

This biopic that tells of the ‘90s Norwegian black metal scene through the perspective of Mayhem cofounder Euronymous (Rory Culkin) blends horror and drama with biography. The horror is at its most prominent with the early demise of the band’s vocalist, Dead (Jack Kilmer). On stage, Dead tends to cut himself and bleed over the audience. Offstage, his self-destructive ways culminate in a graphic suicide. Dead slits his wrists and throat with his knife, then shoots himself in the head with a gun. It’s a shocking and disturbing scene rendered even more uncomfortable by how explicit director Jonas Åkerlund films it.


The Nightingale – Carroll Family Devastation

Jennifer Kent’s period set horror thriller didn’t shy away from graphic violence. Numerous rape sequences left viewers- unaware of what they were getting into- seriously shook. For all the trigger warnings and unflinching depictions of race and violence, though, it’s the early inciting event that left protagonist Clare Carroll desperate for vengeance that disturbs on a profound level. When her husband attempts to earn her freedom from the British army, in a drunken stupor no less, the soldiers visit the Carroll family home in retaliation. They take turns raping Clare in front of her husband, before murdering him. When Clare’s baby won’t stop crying, one of the soldiers bashes it against a wall, leaving both Clare and the viewer traumatized.


The Golden Glove – Grim Introductions

Based on the true crimes of serial killer Fritz Honka, The Golden Glove isn’t for the weak-hearted or weak-stomached. Writer/director Fatih Akin wants to make sure you know what you’re getting into straight away with one graphic opening. Beginning with a shot of an older woman’s leg hanging off the side of a bloodstained bed in a dingy bedroom, walls covered in nude photos of women, Fritz enters from out of frame. He drags her limp body out of bed and onto the floor with a thud. He strips her of her undergarments and pulls out a saw, proceeding to cut her down to more manageable pieces. It’s a horrible declaration of the degradation to come. 

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

‘A Haunted House’ and the Death of the Horror Spoof Movie

Published

on

Due to a complex series of anthropological mishaps, the Wayans Brothers are a huge deal in Brazil. Around these parts, White Chicks is considered a national treasure by a lot of people, so it stands to reason that Brazilian audiences would continue to accompany the Wayans’ comedic output long after North America had stopped taking them seriously as comedic titans.

This is the only reason why I originally watched Michael Tiddes and Marlon Wayans’ 2013 horror spoof A Haunted House – appropriately known as “Paranormal Inactivity” in South America – despite having abandoned this kind of movie shortly after the excellent Scary Movie 3. However, to my complete and utter amazement, I found myself mostly enjoying this unhinged parody of Found Footage films almost as much as the iconic spoofs that spear-headed the genre during the 2000s. And with Paramount having recently announced a reboot of the Scary Movie franchise, I think this is the perfect time to revisit the divisive humor of A Haunted House and maybe figure out why this kind of film hasn’t been popular in a long time.

Before we had memes and internet personalities to make fun of movie tropes for free on the internet, parody movies had been entertaining audiences with meta-humor since the very dawn of cinema. And since the genre attracted large audiences without the need for a serious budget, it made sense for studios to encourage parodies of their own productions – which is precisely what happened with Miramax when they commissioned a parody of the Scream franchise, the original Scary Movie.

The unprecedented success of the spoof (especially overseas) led to a series of sequels, spin-offs and rip-offs that came along throughout the 2000s. While some of these were still quite funny (I have a soft spot for 2008’s Superhero Movie), they ended up flooding the market much like the Guitar Hero games that plagued video game stores during that same timeframe.

You could really confuse someone by editing this scene into Paranormal Activity.

Of course, that didn’t stop Tiddes and Marlon Wayans from wanting to make another spoof meant to lampoon a sub-genre that had been mostly overlooked by the Scary Movie series – namely the second wave of Found Footage films inspired by Paranormal Activity. Wayans actually had an easier time than usual funding the picture due to the project’s Found Footage presentation, with the format allowing for a lower budget without compromising box office appeal.

In the finished film, we’re presented with supposedly real footage recovered from the home of Malcom Johnson (Wayans). The recordings themselves depict a series of unexplainable events that begin to plague his home when Kisha Davis (Essence Atkins) decides to move in, with the couple slowly realizing that the difficulties of a shared life are no match for demonic shenanigans.

In practice, this means that viewers are subjected to a series of familiar scares subverted by wacky hijinks, with the flick featuring everything from a humorous recreation of the iconic fan-camera from Paranormal Activity 3 to bizarre dance numbers replacing Katy’s late-night trances from Oren Peli’s original movie.

Your enjoyment of these antics will obviously depend on how accepting you are of Wayans’ patented brand of crass comedy. From advanced potty humor to some exaggerated racial commentary – including a clever moment where Malcom actually attempts to move out of the titular haunted house because he’s not white enough to deal with the haunting – it’s not all that surprising that the flick wound up with a 10% rating on Rotten Tomatoes despite making a killing at the box office.

However, while this isn’t my preferred kind of humor, I think the inherent limitations of Found Footage ended up curtailing the usual excesses present in this kind of parody, with the filmmakers being forced to focus on character-based comedy and a smaller scale story. This is why I mostly appreciate the love-hate rapport between Kisha and Malcom even if it wouldn’t translate to a healthy relationship in real life.

Of course, the jokes themselves can also be pretty entertaining on their own, with cartoony gags like the ghost getting high with the protagonists (complete with smoke-filled invisible lungs) and a series of silly The Exorcist homages towards the end of the movie. The major issue here is that these legitimately funny and genre-specific jokes are often accompanied by repetitive attempts at low-brow humor that you could find in any other cheap comedy.

Not a good idea.

Not only are some of these painfully drawn out “jokes” incredibly unfunny, but they can also be remarkably offensive in some cases. There are some pretty insensitive allusions to sexual assault here, as well as a collection of secondary characters defined by negative racial stereotypes (even though I chuckled heartily when the Latina maid was revealed to have been faking her poor English the entire time).

Cinephiles often claim that increasingly sloppy writing led to audiences giving up on spoof movies, but the fact is that many of the more beloved examples of the genre contain some of the same issues as later films like A Haunted House – it’s just that we as an audience have (mostly) grown up and are now demanding more from our comedy. However, this isn’t the case everywhere, as – much like the Elves from Lord of the Rings – spoof movies never really died, they simply diminished.

A Haunted House made so much money that they immediately started working on a second one that released the following year (to even worse reviews), and the same team would later collaborate once again on yet another spoof, 50 Shades of Black. This kind of film clearly still exists and still makes a lot of money (especially here in Brazil), they just don’t have the same cultural impact that they used to in a pre-social-media-humor world.

At the end of the day, A Haunted House is no comedic masterpiece, failing to live up to the laugh-out-loud thrills of films like Scary Movie 3, but it’s also not the trainwreck that most critics made it out to be back in 2013. Comedy is extremely subjective, and while the raunchy humor behind this flick definitely isn’t for everyone, I still think that this satirical romp is mostly harmless fun that might entertain Found Footage fans that don’t take themselves too seriously.

Continue Reading