Editorials
‘Tailgate’ Is a Combustible, Dutch Road Rager [Horrors Elsewhere]
Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.
Lodewijk Crijns‘ Tailgate starts out in the remote, Dutch countryside. In this dreadful yet scenic cold open, a terrified bicyclist flees a deceptively genteel man known only as Ed (Willem de Wolf). The daunting stranger runs the panicked cyclist off the road with his white, nondescript Volkswagen Caddy before proceeding to shove the business end of a pressurized sprayer into the victim’s mouth. Clad in exterminator gear, Ed finally dispenses a direct dose of chemical discipline for reasons unknown.
The remainder of Tailgate focuses on Hans (Jeroen Spitzenberger) and his family as they make their way to see the grandparents. The stress of the trip irks Hans before they even leave; he ignores his mother’s phone calls that morning and constantly snaps at wife Diana (Anniek Pheifer) and their two young daughters, Milou (Roosmarijn van der Hoek) and Robine (Liz Vergeer). Once they hit the road, everything from the flow of traffic to the children arguing over tablet time cranks up the tension. The audience is now trapped in this Volvo with a temperamental father, a passive-aggressive mother, and two spoiled brats.
Hans does not help matters with the way he drives; he makes up for time by speeding like a bat out of hell. So when he comes across another driver going too slow for his liking, Hans blares his horn, tailgates, and makes a rude gesture toward the other motorist once they make eye contact. Unfortunately for him and his kin, the offended party is none other than Ed the exterminator. The grandfatherly killer catches up with Hans at a gas station and demands an apology. Staying true to form, Hans refuses and goes on his way, none the wiser of the fate in store for him and his family.
The Netherlands has gone to great lengths to deter traffic accidents and decrease fatalities over the years. The country’s roads, which are otherwise ranked as some of the safest in the world, are suddenly a vehicular hellscape marred by aggressive, anarchic drivers. Crijns undermines the government’s “Sustainable Safety” act with his movie; his characters wantonly disregard traffic laws or use violence to enforce them. This sort of opposition to the system is why Tailgate is one of the more subversive examples of “Nether-Horror.”
Road-trip horror movies often occur in broad daylight. This choice toys with the preconception of bad things only happening at night or in isolation. Fellow road ragers The Hitcher and Joy Ride negotiate day and night settings, but Tailgate fully takes place when the sun is out. Cinematographer Bert Pot resists the expected iconography of the subgenre — dusty, lonely stretches of pavement and gravel along with a series of dingy roadside stops — and finds terror in everydayness. The routes and gas stations are clean, and the neighborhoods are picturesque. Ed’s evil is not obscured by nightfall or restricted to outlying locations; he can easily murder someone in their own house or in an open, empty field.
Both leading, male characters are cut from the same cloth in spite of a generational gap; they are pathologically cocksure and unable to admit to their mistakes. Hans is stubborn to a fault and has no foresight when it comes to his immature actions. Meanwhile, someone as self-important as Ed is equally unyielding, yet he obviously takes things much further than the average egotist. So although their exteriors and methods are worlds apart, Hans and Ed operate on the same wavelength, albeit at different ends.
As much as he screams and pushes people’s buttons, Hans is still vulnerable to the same fears as everyone else. He has simply found a way to mask those insecurities. In his case, Hans’ more contemptible behavior flares whenever his parents are a factor; he becomes more irritated with every mention of them. There is an unspoken strain to their relationship that Crijns hints at rather than spells out, but it is apparent Hans has some anxiety concerning his father. As Oma Trudy (Truus te Selle) states so bluntly on the phone, this could very well be Opa Joop’s (Hubert Fermin) last birthday. Dodging his mother’s calls, scolding Diana for waking up late, driving recklessly to make it in time to see his father — there is more to the story when understanding why Hans is so detestable.
Before all hell breaks loose and Ed whips out the poison again, Hans is given one last opportunity to apologize. Hans instead doubles down, not knowing what kind of person he is dealing with. This is of course after Diana pleads with her husband to do the one thing that will end this problem; she even promises not to tell anyone. So it is clear Ed is not only a threat to Hans’ physical wellbeing but also, and above all, his pride. With an apology, people have to sacrifice a bit of themselves and show their vulnerability. However, Hans does not want anyone to see how frightened he really is; whether it be of a murderer, or the mortality he is reminded of whenever his father’s dotage is brought up.
Stock horror villains who hide behind masks do not instill as much fear as they used to. Ed, on the other hand, looks like he should be gardening rather than spraying random people with vesicant poison — it is that innocuous veneer that makes his misdeeds all the more unsettling. Ed’s identity is no secret, and viewers have a decent grasp of his personality before he succumbs to his baser instincts. Ed feels emboldened by the absoluteness of the law when dealing with those he marks unruly, and a holier-than-thou attitude spurs him to tell children they are eating carcinogenic hamburgers. On top of that, he looks to the parents when casting blame for their progenies’ insubordination; Oma for Hans’ disobedience and Diana for her general permissiveness with her daughters. There are layers to this very unusual and meticulous antagonist.
Tailgate will fail to elicit sympathy from those demanding compassionate characters in bad situations, but the intensity of the chases, the inherent moral questions, and credible hostility all help prolong this thriller’s tread life.
Editorials
Five Serial Killer Horror Movies to Watch Before ‘Longlegs’
Here’s what we know about Longlegs so far. It’s coming in July of 2024, it’s directed by Osgood Perkins (The Blackcoat’s Daughter), and it features Maika Monroe (It Follows) as an FBI agent who discovers a personal connection between her and a serial killer who has ties to the occult. We know that the serial killer is going to be played by none other than Nicolas Cage and that the marketing has been nothing short of cryptic excellence up to this point.
At the very least, we can assume NEON’s upcoming film is going to be a dark, horror-fueled hunt for a serial killer. With that in mind, let’s take a look at five disturbing serial killers-versus-law-enforcement stories to get us even more jacked up for Longlegs.
MEMORIES OF MURDER (2003)
This South Korean film directed by Oscar-winning director Bong Joon-ho (Parasite) is a wild ride. The film features a handful of cops who seem like total goofs investigating a serial killer who brutally murders women who are out and wearing red on rainy evenings. The cops are tired, unorganized, and border on stoner comedy levels of idiocy. The movie at first seems to have a strange level of forgiveness for these characters as they try to pin the murders on a mentally handicapped person at one point, beating him and trying to coerce him into a confession for crimes he didn’t commit. A serious cop from the big city comes down to help with the case and is able to instill order.
But still, the killer evades and provokes not only the police but an entire country as everyone becomes more unstable and paranoid with each grizzly murder and sex crime.
I’ve never seen a film with a stranger tone than Memories of Murder. A movie that deals with such serious issues but has such fallible, seemingly nonserious people at its core. As the film rolls on and more women are murdered, you realize that a lot of these faults come from men who are hopeless and desperate to catch a killer in a country that – much like in another great serial killer story, Citizen X – is doing more harm to their plight than good.
Major spoiler warning: What makes Memories of Murder somehow more haunting is that it’s loosely based on a true story. It is a story where the real-life killer hadn’t been caught at the time of the film’s release. It ends with our main character Detective Park (Song Kang-ho), now a salesman, looking hopelessly at the audience (or judgingly) as the credits roll. Over sixteen years later the killer, Lee Choon Jae, was found using DNA evidence. He was already serving a life sentence for another murder. Choon Jae even admitted to watching the film during his court case saying, “I just watched it as a movie, I had no feeling or emotion towards the movie.”
In the end, Memories of Murder is a must-see for fans of the subgenre. The film juggles an almost slapstick tone with that of a dark murder mystery and yet, in the end, works like a charm.
CURE (1997)
If you watched 2023’s Hypnotic and thought to yourself, “A killer who hypnotizes his victims to get them to do his bidding is a pretty cool idea. I only wish it were a better movie!” Boy, do I have great news for you.
In Cure (spoilers ahead), a detective (Koji Yakusho) and forensic psychologist (Tsuyoshi Ujiki) team up to find a serial killer who’s brutally marking their victims by cutting a large “X” into their throats and chests. Not just a little “X” mind you but a big, gross, flappy one.
At each crime scene, the murderer is there and is coherent and willing to cooperate. They can remember committing the crimes but can’t remember why. Each of these murders is creepy on a cellular level because we watch the killers act out these crimes with zero emotion. They feel different than your average movie murder. Colder….meaner.
What’s going on here is that a man named Mamiya (Masato Hagiwara) is walking around and somehow manipulating people’s minds using the flame of a lighter and a strange conversational cadence to hypnotize them and convince them to murder. The detectives eventually catch him but are unable to understand the scope of what’s happening before it’s too late.
If you thought dealing with a psychopathic murderer was hard, imagine dealing with one who could convince you to go home and murder your wife. Not only is Cure amazingly filmed and edited but it has more horror elements than your average serial killer film.
MANHUNTER (1986)
In the first-ever Hannibal Lecter story brought in front of the cameras, Detective Will Graham (William Petersen) finds his serial killers by stepping into their headspace. This is how he caught Hannibal Lecter (played here by Brian Cox), but not without paying a price. Graham became so obsessed with his cases that he ended up having a mental breakdown.
In Manhunter, Graham not only has to deal with Lecter playing psychological games with him from behind bars but a new serial killer in Francis Dolarhyde (in a legendary performance by Tom Noonan). One who likes to wear pantyhose on his head and murder entire families so that he can feel “seen” and “accepted” in their dead eyes. At one point Lecter even finds a way to gift Graham’s home address to the new killer via personal ads in a newspaper.
Michael Mann (Heat, Thief) directed a film that was far too stylish for its time but that fans and critics both would have loved today in the same way we appreciate movies like Nightcrawler or Drive. From the soundtrack to the visuals to the in-depth psychoanalysis of an insanely disturbed protagonist and the man trying to catch him. We watch Graham completely lose his shit and unravel as he takes us through the psyche of our killer. Which is as fascinating as it is fucked.
Manhunter is a classic case of a serial killer-versus-detective story where each side of the coin is tarnished in their own way when it’s all said and done. As Detective Park put it in Memories of Murder, “What kind of detective sleeps at night?”
INSOMNIA (2002)
Maybe it’s because of the foggy atmosphere. Maybe it’s because it’s the only film in Christopher Nolan’s filmography he didn’t write as well as direct. But for some reason, Insomnia always feels forgotten about whenever we give Nolan his flowers for whatever his latest cinematic achievement is.
Whatever the case, I know it’s no fault of the quality of the film, because Insomnia is a certified serial killer classic that adds several unique layers to the detective/killer dynamic. One way to create an extreme sense of unease with a movie villain is to cast someone you’d never expect in the role, which is exactly what Nolan did by casting the hilarious and sweet Robin Williams as a manipulative child murderer. He capped that off by casting Al Pacino as the embattled detective hunting him down.
This dynamic was fascinating as Williams was creepy and clever in the role. He was subdued in a way that was never boring but believable. On the other side of it, Al Pacino felt as if he’d walked straight off the set of 1995’s Heat and onto this one. A broken and imperfect man trying to stop a far worse one.
Aside from the stellar acting, Insomnia stands out because of its unique setting and plot. Both working against the detective. The investigation is taking place in a part of Alaska where the sun never goes down. This creates a beautiful, nightmare atmosphere where by the end of it, Pacino’s character is like a Freddy Krueger victim in the leadup to their eventual, exhausted death as he runs around town trying to catch a serial killer while dealing with the debilitating effects of insomnia. Meanwhile, he’s under an internal affairs investigation for planting evidence to catch another child killer and accidentally shoots his partner who he just found out is about to testify against him. The kicker here is that the killer knows what happened that fateful day and is using it to blackmail Pacino’s character into letting him get away with his own crimes.
If this is the kind of “what would you do?” intrigue we get with the story from Longlegs? We’ll be in for a treat. Hoo-ah.
FALLEN (1998)
Fallen may not be nearly as obscure as Memories of Murder or Cure. Hell, it boasts an all-star cast of Denzel Washington, John Goodman, Donald Sutherland, James Gandolfini, and Elias Koteas. But when you bring it up around anyone who has seen it, their ears perk up, and the word “underrated” usually follows. And when it comes to the occult tie-ins that Longlegs will allegedly have? Fallen may be the most appropriate film on this entire list.
In the movie, Detective Hobbs (Washington) catches vicious serial killer Edgar Reese (Koteas) who seems to place some sort of curse on him during Hobbs’ victory lap. After Reese is put to death via electric chair, dead bodies start popping up all over town with his M.O., eventually pointing towards Hobbs as the culprit. After all, Reese is dead. As Hobbs investigates he realizes that a fallen angel named Azazel is possessing human body after human body and using them to commit occult murders. It has its eyes fixated on him, his co-workers, and family members; wrecking their lives or flat-out murdering them one by one until the whole world is damned.
Mixing a demonic entity into a detective/serial killer story is fascinating because it puts our detective in the unsettling position of being the one who is hunted. How the hell do you stop a demon who can inhabit anyone they want with a mere touch?!
Fallen is a great mix of detective story and supernatural horror tale. Not only are we treated to Denzel Washington as the lead in a grim noir (complete with narration) as he uncovers this occult storyline, but we’re left with a pretty great “what would you do?” situation in a movie that isn’t afraid to take the story to some dark places. Especially when it comes to the way the film ends. It’s a great horror thriller in the same vein as Frailty but with a little more detective work mixed in.
Look for Longlegs in theaters on July 12, 2024.
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