Before its official release, Jeepers Creepers 3 had a great deal of controversy surrounding it. With its director being monitored for child abuse allegations, it appeared the third entry in the series was not going to make waves, even if it ended up being a masterpiece. Looking at the film objectively and without the lingering moral issues of its creator on my mind, I can attest that Jeepers Creepers 3 is not only a terrible film, but it is a lesson in how to make something far, far below mediocrity.
Blumhouse Productions has made its mark in horror, for better or worse, by leaning into whatever off-the-wall story its films are trying to tell. There have been the successes, such as Get Out and Whiplash, as well as the many, many missteps (looking at you The Darkness, The Lazarus Effect, etc.).
Horror filmmakers have a unique opportunity. Wtih several subgenres at their disposal they have the option to morph any franchise into a completely different experience. However, it can be tricky for a well-established series to step outside of its norm and explore a different area of horror. With risk can come great reward, though, and Johannes Roberts' sequel to 2008's The Strangers is a clear-cut deviation from the home invasion subgenre that introduced us to the three masked psychopaths.
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.
Director Guillermo del Toro tends to play well within period-piece settings, using his strong visuals and attention to detail to create a story that makes whatever world or period of time feel completely realistic. Whether looking at the modern world through the lens of giant mechs and monsters in Pacific Rim or telling the tragic story of children surviving a war-torn Spain in The Devil's Backbone, del Toro takes risks in what he puts his characters through regardless of setting.
Horror has no borders! Well, unless you're Freddy Kreuger and stuck haunting Springwood. For the rest of the spooky world, specifically the United States, countless classic horror films have been set apart from the fold by where they're set. Here at BGH we've been sending readers across the lovely U.S.A. to see what kinds of horror stories have graced the land of the free...and bloody.
Perhaps one of the strangest releases and letdowns of this year goes to Tomas Alfredson's latest film, The Snowman. The director is known for fantastic films across many genres, including Let The Right One In and Tinker, Tailor, Soldier, Spy, but sadly, his latest work feels like a phoned-in gig.
Stephen King's name can conjure a myriad of immediate reactions. For many his cultural significance is marked by the knowledge that whatever is about to unfold will be satisfyingly unsettling. From three versions of Carrie to two versions of The Shinning, the King’s work seems to draw consistent and frequent adaptation. Arguably one of his most notorious and discussed works is the novel It, which was adapted for TV as a mini-series in 1990. Audiences may have missed out on viewing the over four-hour epic since its release 27 years ago, but Tim Curry's performance as Pennywise the clown has become a part of cross genre of pop culture.