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2022: The Year Superheroes Embraced Horror in a Massive Way

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While there are no guarantees when it comes to predicting what audiences will show up for in theaters, horror and superheroes sit comfortably at the top of the reliable list. Transitionary phases in both MCU and DCEU resulted in more unpredictability than usual for superhero fare at the box office here in 2022. And though superhero movies have occasionally dabbled in horror over the years, 2022 undoubtedly saw them embrace the genre more than ever.

Before The Batman was released in March, director Matt Reeves described his take on the Caped Crusader as “almost a horror movie.” The suspenseful, unnerving opening sequence confirmed it. The Batman opens on Halloween, introducing this iteration of the Riddler (Paul Dano) as an eerie killer as he stalks and then murders the Gotham City mayor in his own home. It established a somber, gritty tone more akin to Se7en than your conventional superhero movie. 

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‘The Batman’

From there, the sadistic serial killer has set up a deranged game that forces Batman (Robert Pattinson) to investigate the city’s corruption and his involvement as the orphaned heir Bruce Wayne. Though the Fincher-like detective story provides most of the genre ambiance, Reeves drew from another surprising influence regarding the thrilling car chase sequence between Batman and the Penguin (Colin Farrell): John Carpenter’s Christine. In an interview, Reeves previously said of the Batmobile: “I liked the idea of the car itself as a horror figure, making an animalistic appearance to really scare the hell out of the people Batman’s pursuing.”

He succeeded; the blazing pursuit is as visually stunning as it is intense.

April finally brought the long-awaited release of Morbius, Sony’s Spider-Man Universe movie helmed by Life director Daniel Espinosa. The film follows Dr. Michael Morbius (Jared Leto), a brilliant doctor determined to find a cure for the rare blood disease that’s afflicted him and his surrogate brother Lucien (Matt Smith) since childhood. With the help of fellow doctor Martine Bancroft (Adria Arjona), at least in keeping his work honest, Dr. Morbius experiments with the anti-coagulation in vampire bats. His tests cause him to inadvertently transform, granting him superpowers and a need to feed on blood.

morbius review

‘Morbius’

Burk Sharpless and Matt Sazama‘s script includes a few wry winks that hint at an intended sense of humor and connections to the horror realm. Morbius transforms into the living vampire aboard the Murnau in international waters; the Murnau, of course, is a nod to Nosferatu director F.W. Murnau. The scene draws cheeky parallels to Dracula’s famous voyage across the sea on the Demeter, from Bram Stoker’s classic novel. It’s the closest Morbius comes to fully leaning into horror; it otherwise plays out as a quip-filled action-horror hybrid meant to set up future entries.

Sam Raimi returned to the world of superheroes this year, a first since 2007’s Spider-Man 3, with Doctor Strange in the Multiverse of Madness. Raimi easily slips back into his horror filmmaking roots and manages to infuse this sequel with as much horror as the MCU allows him. The plot sees Doctor Strange (Benedict Cumberbatch) traversing the multiverse in a bid to protect America Chavez (Xochitl Gomez) from a now evil Scarlet Witch (Elizabeth Olsen).

Multiverse of Madness Disney+

‘Doctor Strange in the Multiverse of Madness’

The script by Loki writer Michael Waldron lets demons and zombies run amok, but Raimi takes it a step further with his physical horror and horror-comedy sensibilities. Eyeballs get gouged, deaths hurt, characters literally wrestle with their inner demons, and the trademark demonic POV tracking shot makes an appearance. Callbacks to earlier works sneak in for the eagle-eyed fan, and Raimi even injects a few effective jump scares in his bid to make the antagonist an imposing and intimidating figure. Even though most of this sequel feels more about advancing the current phase of the MCU, Raimi’s filmmaking and horror sensibilities reinvigorate the formula a bit.

The MCU also kicked the horror into overdrive for Halloween with the October release Werewolf by Night. The nearly hour-long feature presents as a classic horror movie, dropping viewers into the middle of a secret world of monster hunters. Film composer Michael Giacchino directs the special, penned by Heather Quinn and Peter Cameron. Giacchino focuses on evoking the classic horror vibe to assist in the initial worldbuilding. The events play out in monochrome, save for the vibrant red glow of the Bloodstone. Cigarette burns and film grain get added for that retro look. The rules of the hunt get relayed to the cutthroat candidates by way of reanimated dead, albeit in a much campier and family-friendly way via animatronics.

Aside from the aesthetics, Werewolf leans heavily into the mysterious. The black and white cinematography more than sets the retro vibe; it allows the feature to remain accessible to a wider audience even as it lets its monsters and monster hunters spill plenty of blood. Toss in a Jack Pierce-inspired beast with practical application, and you’ve got a modern superhero story with a classic Universal Monsters makeover. Here’s to hoping we see more from werewolf Jack Russell (Gael Carcia Bernal) and his monstrous Man-Thing buddy in the future.

horror superheroes werewolf by night

‘Werewolf by Night’

The horror-superhero crossover trend will continue beyond 2022, too. Currently, MCU’s reboot of Blade is set for 2024, with Mahershala Ali starring in the lead role. Horror’s mainstream appeal and a current reappraisal for 2005’s Constantine have officially reignited that property as well; an R-rated sequel is now in development. And The Toxic Avenger reimagining, helmed by Macon Blair (“Swamp Thing,” Green Room), is all but guaranteed to push the R-rating and horror further than its MCU and DCEU counterparts. It is, after all, rated R for “strong gore.

Who knows what other spooky superhero surprises are in store, but the more, the merrier. After all, horror bleeding over into different genres is always more than welcome.

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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