If you own a television or even if you keep your perusing to the internet, you probably have heard of Ryan Murphy. From his fetish medical drama Nip/Tuck to the constantly quoted American Horror Story and Glee (for the non-horror fans), Murphy seems to have the ideas to entertain; whether or not those ideas are successful is another argument.
Whether they are pristine and beautiful porcelain or huggable and interactive, dolls are innately unnerving. Their blank, death eyes boring holes through our thin veneer of confidence. Basically, all dolls are evil; I’m pretty sure most any one I know has debated whether or not the household doll is creeping around behind our backs.
Most any town in any city has some sort of urban legend that haunts the dreams of it’s youthful inhabitants – and most urban legends are assumed to have some foundation in truth, somewhere along it’s origin. Maybe it’s the truth to the myth that is so fascinating, so intriguing, that gives such life to what was once a small campfire tale. Clive Barker’s Candyman, (based on his short story The Forbidden) perfectly illustrates that sometimes what we’re told as children to scare us into good behavior is a little more than just vernacular lore.
Jack Ketchum is among the greats of horror literature; his work delivering chilling and horrific stories of human depravity. The adaptation of his novel, The Woman, by Lucky McKee with writing support by Ketchum himself, is a no holds barred illustration of the darkest corners of humanity and the violence exacted upon one another.
Revenge horror is often one of the most brutally violent sub genres and rarely fails to deliver on the satisfaction. Freshman director Adam Egypt Mortimer's Some Kind of Hate focuses on a high strung high school student who is viciously bullied until he summons the entity of a girl, Moira, who was tormented to the point of suicide. With and eventually without his help, Moira exacts her bloody revenge on the guilty.
If horror feels at home anywhere in the tangible world, it would probably be high school. Already a tumultuous place, ripe with raging hormones, suppressed emotions and damaging naivety, high school becomes the perfect setting for a horror film when anything unnatural or paranormal is added to the mix.
It’s often a debate between Stephen King fans on the quality of adaptations of his work and unfortunately, there is often very little time between these developments or re-visions. Big Driver is one of the more recent productions of a novella from King’s grim collection, "Full Dark No Stars."
In the current state of things, it seems that horror films have started to shift their focus less on the aftermath of devastation in post apocalyptic scenarios and more towards the very tangible and gripping terror of the road that leads there. Set in a fictional representation of Detroit, Lost River revolves around the struggle of one lower class, single parent family and their fight for survival against very real and dangerous adversaries.
Disenfranchised and precocious youths were a popular character study of horror films in the 90s. When done right – they were fun little jaunts through the horrors of high school and adolescence. Unfortunately, there were a lot of films that thought that following that formula would always produce a winner, and Disturbing Behavior is a perfect example of that kind of failure.