Andy is a contributing writer, occasional interviewer, surrogate Schnaars, and co-host of the Sophisticult podcast. He might not be as funny as Joe, rich as Jon, strong as Casey, adorable as Mark, or surly as Eric, but damn does he give great hugs.
Every year the BGH crew selects their picks for best and worst horror films of that year. Stay tuned toward the end of the year for our infallible consensus for the best and worst of the year, compiled by our very own genre mega-scholar Jonathan Schnaars.
Set in the 1980s Perth suburbs, Ben Young’s Hounds of Love centers on a sadistic husband and wife duo, John and Evelyn White (Stephen Curry and Emma Booth), who kidnap, torture, and murder young high school girls. Vicki (Ashleigh Cummings) is the White’s latest quarry. Drugged and restrained to a bed she desperately searches for an escape while her separated parents search for her.
Like his cinema, Tobe Hooper’s voice was that kind of resonant, droll, molasses-like drawl that you never forget. I’ve only heard it in a handful of commentaries and interviews but that’s a voice that impresses with clarity. It’s this sort of tendency that inflects much of what BGH staff came to recall or find in revisiting Hooper’s work. His are the types of films you remember your first time seeing. Genre defining and boundary busting, his earlier work only grows in its revolutionary esteem.
Following the news on Sunday that horror maestro George A. Romero had passed a group of BGH staff felt compelled to share some thoughts and experiences with the filmmaker’s work. As expected we remember his iconoclastic and prescient approach to the genre while also contemplating how his films function like a scrapbook clocking our horror education.
The 1933 King Kong is many things. Like any piece of cultural history the film can be framed in various conversations privileging or critiquing its qualities. It’s a cinematic tour-de-force in special effects. It’s a myth-making vehicle that achieved a kind of cultural iconography equaled in cinema only by movie stars, Westerns, Star Wars, Samurai movies, the early 1930s run of Universal monster movies, etc.
James Cameron’s 1989 sci-fi thriller The Abyss took audiences to the steely blue depths of the Caribbean where the film’s plucky, devil-may-care bunch of oil riggers (in these movies aren’t they all?) square off sub-a-sub with a rogue SEAL team. Cameron’s film represents one of the final contemporaneous Cold War allegories in mainstream U.S. cinema. Though multiple edits and a ballooning budget kept the film from financial success it’s stark verisimilitude coupled with groundbreaking special effects endeared it to many critics.
Recently Ciara Wardlow wrote a piece over at Film School Rejects exploring the intersection of fandom and cinephilia. The author’s focus is mainly on convergence culture and franchise product development, considering the ongoing relationships between viewers and diegetic worlds.
Let me set the scene for you. A hirsute man-child strolls into his local multiplex to check out the latest installment in a franchise about werewolves and vampires. Sounds pretty great, huh? What’s that you ask? Yes, that’s right. He’s never seen any other Underworld movie other than what’s been on FX in the background. Won’t this diminish his enjoyment of the impending whirlwind of leather, fur, blood spurts, and runny egg style Shakespeare? Absolutely not.
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Universal Monsters In Comics
Join Andrew in his exploriation of the ubiquitous Universal Monsters' appearances in comics
Horror Through the Decades
Whether you're a dusty Baby Boomer or a filthy Millenial, you'll no doubt appreciate Andrew's look back into the best horror TV shows since the 1950's
Watch Horror Movies. Drink Drinks.
One Thursday a month, Sophie lays out the rules for a horror film drinking game! Browse our past entires and be on the look out for new ones.
The United States of Horror
Tag along as our spooky patriots give you a tour of the greatest horror settings from around the U-S-of-A