Bliss

bliss

A talented painter is experiencing a creative block as an important deadline approaches. In a desperate attempt to break that block, she seeks out drugs to spark her creativity. Instead she sparks a twisted journey filled with drugs, sex, hallucinations, and blood.

Writer and director Joe Begos (Almost Human, The Mind’s Eye) brings his distinctive flare in his latest horror film, Bliss. Much like his previous films, Begos creates a stunning, 80’s-inspired film that relies heavily on complex characters, a unique plot, fantastic practical effects, and brilliant music. Bliss is a film that takes a unique look at vampirism, addiction, and obsession. The film follows Dezzy, the talented young artist who is on a tight deadline to finish her next big piece or else she will go broke. After a long time with no real progress on her latest work, she decides it’s time to hit up an old friend who can provide her with drugs that will hopefully bring artistic inspiration. After a night of drugs, drinking, and partying, Dezzy’s entire world spins out of control. Between manic episodes and drug-induced stupors, it becomes more and more difficult for her to separate what is real and what isn’t.

When it comes to vampire films, it is easy to make the connection between the need for blood and addiction. Yet I feel like Bliss really conveys the gritty, less glamorous side in a truly compelling way. This is likely because audiences see Dezzy using drugs at the same time as she experiences her more eccentric addiction. Whether this is related to the drugs she’s taking or a chance encounter with an old friend, she can’t be sure. Dezzy is obsessed with finishing her masterpiece, which makes her more vulnerable to both the drugs and the need for blood. There is a disturbing co-dependence that develops between her need for drugs and blood; the physical effects not only visible in Dezzy herself, but also on the canvas. There are a few moments where the lack of mythos around these vampires can make the rules around their existence a bit confusing. It is only really noticeable in a few scenes, but the focus is more on the addictive nature of vampirism which distracts from those moments.

Fans of Begos’ films are sure to see a number of familiar faces from his previous films. The one face in Bliss that might not be as familiar is Dora Madison (All That We Destroy, Chicago Fire) starring as Dezzy. It is impossible not to fall in love with Madison in this role. Dezzy is a bit of a mess and if it wasn’t for her artwork, she would just be another jobless hack spending what money she does have on drugs and booze. Yet, between the way Begos wrote the character and the way Madison portrays her, Dezzy is an enigmatic character audiences can empathize with as she battles addiction and her own obsession to finish her art. This is truly Dezzy’s story, but another strong female performance comes from Tru Collins (Awkward, The Price) as Courtney. She has many of the same demons as Dezzy, but she’s much more wild and unpredictable. Collins plays the character in a way where her intentions are always hidden until the last minute, making her quite unpredictable. Fans will also be pleased to see indie film favorites such as Jeremy Gardner (The Battery, The Mind’s Eye), Graham Skipper (The Mind’s Eye, Beyond the Gates), and Rhys Wakefield (The Purge, You Get Me).

Bliss is a film that assaults your senses, in the best way possible. Visually, the film has a dreaminess to it. Much of the film forces the audience to look through a haze, lending a vintage look to everything. That haze is backlit by bright neon lights, drawing the viewer’s eye to specific areas on screen. To add a bit of grit to that dreaminess, each scene takes place in dirty sets spattered with drugs and drenched in blood. Begos fans have come to expect amazing practical effects in his films and Bliss doesn’t disappoint. These effects are grotesque, realistic, and add to the visual appeal of the film. Then there is the music, which ties everything together quite beautifully. Steve More (Mayhem, The Guest) composed the fantastic score. It perfectly ties together the gritty and dreamy visuals of Bliss and compels the viewer to turn the volume up.

Bliss is a gritty, blood-soaked fever dream that perfectly blends vampirism and addiction on film. Begos wows once again by bringing his unique filmmaking style to a subgenre of horror that has been done to death, yet he manages to make it feel fresh. At times the vampire mythos is too vague, but it’s clear the focus is meant to be on the addiction. The entire film feels like a manic episode and the stunning look of the film only adds to that feeling. Madison carries the film on her very capable shoulders with some horror favorites working alongside her. A rocking musical score and amazing practical effects result in a truly gorgeous film.

OVERALL SCORE: 8/10

The Marshes

marshes

A group of biologists venture out into the remote marshes of Australia. While conducting their research, they hear a legend of a murderous spirit that haunts the marshes. Soon they begin to hear strange noises and see things in the wilderness. Someone or something in the marsh is hunting them down one by one.

This thrilling Australian horror film is the feature-film debut of writer and director Roger Scott. The Marshes starts out slowly, taking its time introducing the audience to the key characters. It might be a bit too slow to start for some viewers, but I find this character development to be interesting as well as important. Not only does this time help to build an emotional connection to the characters, but it allows the filmmakers to plant various subtle clues that hint at what will eventually happen. This also allows the plot to gradually build suspense from multiple different angles. The scientists have to worry about sinister rednecks, the rugged environment, and something even more sinister. When things do finally turn sideways, the three researchers are thrown into a brutal fight for survival. There is plenty of suspense, violence, and gore to keep the audience at the edge of their seat.

I don’t want to spoil the movie, so I’m going to have to be very vague about my main complaint about the plot. The strange happenings are very small at first. These small events can almost be dismissed as figments of the character’s imagination, but as they increase with frequency and violence everything becomes more real. The problem is, there are moments where things either don’t make sense or it confuses what is real or imagined. If you pay attention to the clues I previously mentioned, then you might be able to figure out what exactly is going on. Yet you also need to have some very specific knowledge beforehand that isn’t explained in the film. It is likely knowledge much more common in Australia, but far less common to viewers from the US. I know this is incredibly vague, but the gist of what I’m getting at in the plot is intriguing and suspenseful, but might ultimately be confusing for many viewers. (Trust me, this paragraph will make more sense once you’ve seen the film)

The small cast of The Marshes delivers dynamic characters and great performances. Dafna Kronental (41, The Menkoff Method) shines as the lead researcher, Pria. She not only takes charge of the scientific study the trio is conducting, but she also takes charge when thrust into danger. Pria is bold in the face of injustice and danger. Kronental is absolutely brilliant in this role, and I want to see her in more roles in the future. Sam Delich makes his feature film debut as research student Will. Delich is very likable in this role. I like a man that can let a woman take charge, and Will has no problem taking orders from Pria. Then there is Mathew Cooper (Burning Kiss) who also does a fantastic job as Ben. This third researcher is a bit more prickly than his colleagues, but there is still something about the way Cooper plays Ben that still makes him endearing. All three actors play off of each other quite well and add to how much the audience cares about them.

As the film progresses, it gets surprisingly gory. The Marshes utilizes some truly fantastic and gruesome practical effects to create scenes some viewers will want to cover their eyes. Not only are the effects wonderfully done, but they create some disturbingly realistic gore to feast your eyes upon. The gorgeous setting and striking cinematography result in a gorgeous and haunting juxtaposition between the beauty of the scenery and the violence taking place.

The Marshes might be confusing to some viewers, but it still delivers a unique thriller. Scott shows that he knows how to craft a character driven plot filled with subtle details. This particular plot might not translate quite as well in different parts of the world because of those subtle details, but his talent is undeniable. The performances are fantastic, the imagery is gorgeous, and there is plenty of blood for the gore hounds. Definitely check this film out, and if you find yourself unsure of things by the time the credits roll, you know where to find me!

OVERALL RATING: 6.5/10

Underwater

MV5BNzM0OGZiZWItYmZiNC00NDgzLTg1MjMtYjM4MWZhOGZhMDUwXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_SY1000_CR0,0,626,1000_AL_

A crew working in an underwater lab has been drilling into the darkest depths of the ocean. Something causes the facility to implode and flood, killing hundreds of crew. The few survivors will have to brave the intense pressure and darkness of the ocean floor, but there is something far worse waiting for them in the dark.

William Eubank (The Signal, Love) brings to life an all new aquatic horror film written by Brian Duffield (Insurgent, The Babysitter) and Adam Cozad (Jack Ryan: Shadow Recruit, Tarzan). I’m a big fan of aquatic horror films, so I’ve been looking forward to this film since the first trailer dropped. I’m happy to say the film was entertaining from start to finish. Right when Underwater starts, it wastes no time getting into the excitement. The filmmakers wisely focused on two main fears: the claustrophobic fear of being in the deep ocean and the fear of the unknown beasts that lurk in those hidden depths. Arguably, the most terrifying aspect of the film is that claustrophobia. These fears drive the plot forward with survival as the main focus. It’s a very simple plot, but effective at evoking tension and anxiety in the audience.

There is nothing wrong with a simple plot in horror. Honestly, sometimes it makes a monster movie more fun when the main goal is simply surviving a beast of unknown origin. Yet Underwater hints at a more intricate plot multiple times, but those hints never come to fruition. One of the most obvious signs that there was likely a more involved plot can be seen whenever the captain is on screen. It seems clear that he knows more than he lets on and some of his actions even come across as a bit sinister, but nothing ever comes of it. Since there are multiple writers involved and a bigger studio, I can’t help but wonder what the film started out as compared to what is currently in theaters. I do enjoy the plot as is, but I would still love to see a version with a deeper conspiracy.

Genre film lovers will likely recognize many of the faces in Underwater. Kristen Stewart (Personal Shopper, Lizzie) stars as Norah. She is a highly industrious and pragmatic character. Stewart plays Norah quite well as someone who will do what she can to survive and to save her friends, but she also clearly understands her odds of survival. Another standout performance comes from John Gallagher Jr (10 Cloverfield Lane, Hush) as Smith. I’ve often thought of Gallagher as a chameleon in genre films because he does such a great job of committing to a character that he becomes almost unrecognizable. His portrayal of the lovable Smith is no different, and he is a joy to watch. Other compelling performances come from Jessica Henwick (Game of Thrones, Iron Fist) as Emily, T.J Miller (Cloverfield, Deadpool) as Paul, and Vincent Cassel (Brotherhood of the Wolf, Black Swan) as the captain.

From the creatures to the sets to the costumes, every artistic detail of Underwater is clearly very thoroughly thought out. As an aquatic creature feature, the design of these underwater beasts is very important. Underwater utilizes CGI effects to create an array of frightening deep sea creatures. The audience will see different variations of this creature. For the most part the design makes sense for the environment these beings likely thrive in, but there are certain aspects that don’t work quite as well for me. Without giving too much away, the main creatures we see are a bit too humanoid, and one of the creature reveals almost looks like it belongs in a different movie entirely. The set and costume design are fantastic. It truly feels like the actors are in a lab with thick, sturdy walls that could still implode if even one thing goes wrong that deep in the ocean. The dive suits the actors wear are also incredible. They look as if they could actually handle the pressure of being under 6 miles of water. All of these artistic choices effectively transport the audience to an anxiety-inducing, claustrophobic setting.

Underwater is a claustrophobic creature feature that is entertaining as is, but hints at a deeper conspiracy. Eubank proves he knows how to make an edge-of-your-seat film. While it is thrilling and fun to watch, I can’t help but be curious what more there was to the plot before the film hit theaters. There are clear indications of a different film than what audiences were given. I truly enjoyed the popcorn horror flick we got. I just hope we either get a director’s cut when the film is released on Blu-ray that goes deeper or a sequel that builds on the mythos and the history of these creatures. If you haven’t seen Underwater yet, I strongly urge you to make time to see it on the big screen as it should be.

OVERALL RATING: 7/10

The Grudge (2020)

MV5BMjY3NWZmOTktMmVhZi00M2Q1LTg2MmQtOGE2NmE3MWNlZjY3XkEyXkFqcGdeQXVyMDA4NzMyOA@@._V1_SY1000_CR0,0,675,1000_AL_

When an emotional, violent crime is committed, it leaves a stain. That stain grows and festers, affecting all those who encounter it. After a woman returns from a job in Japan, a curse infects her home. It leads to a chain of horrific events and disturbing deaths. A detective will have to investigate to stop the curse and save herself from the ghosts haunting her.

January is generally considered a throw-away month for films released in theaters, especially horror films. The first horror release of January gave some horror fans hope that trend would be broken. The Grudge has a long film history beginning with the 2002 Japanese film, which spawned many sequels, and then the 2004 American remake. Now, writer and director Nicolas Pesce (Piercing, The Eyes of My Mother) has created another addition to this lucrative dynasty. Unfortunately, this latest iteration is riddled with issues. The most obvious issue is the pacing. Much like the film’s source material, the plot jumps back and forth to different periods of time beginning with the woman who brought the curse back from Japan and ending with the detective investigating it all. While audiences have seen this work, even within the frame of The Grudge films, in this version it makes the film feel like it drags. There simply isn’t enough that happens between the time jumps to keep things exciting.

For some reason, whether an artistic choice or a decision made by the producers, the film directly connects to the house fans will know from Japan. That means it also relates back to Kayako. This connection seems unnecessary in the 2020 version of The Grudge. The film ends up being a weird sequel/remake/reboot all in one. This version would have been better served to stand on its own, separate from the Japanese version. It ends up creating more confusion because there isn’t a solid mythology to build from. The first woman carried the curse back from Japan, but then it is only her ghost and the ghosts of her family we see haunting people, not the ghosts from Japan. It begs the question why the curse followed that specific woman and started a new curse in her home, but then the same thing didn’t happen to those cursed in the states. While there are many plots points that are not fully developed and various plot holes, this mythos, or lack thereof, is the most apparent.

Fans of this franchise will likely go into The Grudge expecting plenty of tension and scares. People who know me will likely know I am a huge wimp and get scared easily. If this gives any indication, I was not scared at all during the entire runtime of this film. The film relies too heavily on unearned jump scares that don’t manage to cause much jumping, and it fails to build the tension between scares as well. The Grudge also relies too much on grotesque images to attempt to elicit fear. While these practical effects to create the horrifying ghosts are beautifully done, they also come across as more of a gimmick to achieve an R rating, rather than something vital to the plot.

While the character development is lacking, the most successful aspect of The Grudge is the performances. The standout performance by far is horror fan-favorite Lin Shaye (Insidious, Room For Rent) as Faith Matheson. Faith is a woman whose physical and mental health are on a swift decline. Her interactions with the curse are somewhat unique from others, and Shaye delivers a spine-chilling performance in this role. The other two performances that are enjoyable come from John Cho (Searching, Star Trek) and Andrea Riseborough (Mandy, Oblivian). Both Cho and Riseborough do well in their respective roles, although the characters are not very well written so they come across as flat. They do the best they can with what they are given.

The Grudge lacks a solid mythos to build a terrifying story, resulting in a slow and lackluster start to 2020. Based on Pesce’s body of working leading up to this film, which consists of some great films, one can only assume he was restricted by producers. The film moves along far too slowly, fails to create the scares fans expect, and contains one plot hole after another. My one hope is that this doesn’t keep Pesce from continuing to make the kinds of films we all know he’s capable of.

OVERALL RATING: 3/10

Favorite Things: Best of 2019

As another year ends, it’s time for me to reflect on my favorite pieces of horror entertainment. It’s been another amazing year for horror, making it incredibly difficult to narrow down what I thought was the best. From movies to books to music to events, here are all of my best horror of 2019 selections!

BEST MOVIES OF 2019 (Note: I have two #1 films as I couldn’t choose between them)

10. Sweetheart

sweetheart

I had a really hard time choosing between a few films to take this spot on my list, but ultimately Sweetheart stuck with me more than the others. Released on Netflix just before the end of the year, this film by J.D. Dillard brings together the thrills of an aquatic monster film with the deeper message of a social commentary film. I wish Blumhouse had done a bit more to get the word out about Sweetheart. It has great creature design/effects, a strong performance from Kiersey Clemons, and sends an important message. Full review here.

9. Harpoon

harpoon.jpg

This film surprised me because the three characters are so unlikeable! Normally this ruins a film for me because there isn’t anyone to root for, but it worked in Harpoon. Instead of rooting for someone to survive, we could all relish in their darkly humorous demise. The small setting on a boat adds to the tension of being trapped with people you hate and the performances from all three leads are wonderful to watch. Full review here.

8. Happy Death Day 2U

hdd2u.jpg

It was hard to imagine there was any way to make a sequel to Happy Death Day. Yet writer/director Christopher Landon was able to double down and make a sequel that added to the mythos, injected even more humor, added some great sci-fi elements, and made the film have even more emotional depth. Plus, it’s impossible not to love Tree, played by Jessica Rothe. Full review here.

7. Crawl

crawl.jpg

Everyone knows I’m a sucker for aquatic horror. Crawl was no exception. It drew from multiple fears people have including natural disasters, small spaces, and of course alligators. The film is very exciting and surprisingly gory, which is everything I could want from a killer gator film. Yet I believe the film held back just enough to keep it from getting too cheesy. Full review here.

6. The Perfection

perfection

This was a film that caught me completely off guard. While watching for the first time, it shocked me again and again while also making me question what subgenre of horror it would end up fitting into. The many twists and turns, the unique format, and the overall plot made me fall in love with The Perfection. It may not work as well upon second watch, but I won’t forget how it felt watching it for the first time. Full review here.

5. Satanic Panic

satanic panic

Satanic Panic is by far the funniest horror film I saw this year. I loved the play on the classic 80’s idea that the rich get rich by worshipping the devil. It allowed for some hilarious hijinks and fun practical effects. Plus, it’s impossible to not fall in love with the trifecta of badass female leads; Rebecca Romijn, Hayley Griffith, and Ruby Modine (especially Modine because she has the best dialogue). Full review here.

4. Tigers Are Not Afraid

tigers.jpg

Writer and director Issa López truly created a powerful film with Tigers Are Not Afraid. It offers a unique glimpse into the lives of little kids surviving on the streets of Mexico, with an added supernatural element. The children acting in this film are absolutely fantastic. The balance of cartel violence, eeriness, and heartbreak tell a beautiful story that can appeal to even those who don’t enjoy horror. Full review here.

3. Daniel Isn’t Real

daniel

This is a film with a plot that shouldn’t work on film. Yet Adam Egypt Mortimer not only made it work, but he create a beautiful film about trauma, mental illness, and inner demons. On top of having a great story, the film also has gorgeous visuals and superb performances from the two male leads. Daniel Isn’t Real is the kind of film that really takes an emotional toll and sticks with the audience long after it’s over. Full review here.

1. Doctor Sleep

sleep

The more I think about it, the more I completely adore everything about this film. Mike Flanagan managed to write and direct what, in my opinion, might be the best Stephen King adaptation with Doctor Sleep. Not only did he bring the book to life, but Flanagan also managed to incorporate the film version of The Shining to appeal to fans of both the film and the books. The film really perfectly conveys trauma and addiction in a beautiful way, has fascinating characters, incorporates gorgeous visuals, and has a cast of amazing actors. Full review here.

1. Midsommar

midsommar

It might seem impossible to create an effective horror film drenched in daylight, but Midsommar does just that. Seeing truly horrific events unfold in the light and in a beautiful setting somehow makes everything more disturbing. Another emotionally driven film, the way writer and director Ari Aster is able to convey grief, trauma, and the longing for that feeling of “home” results in a memorable film experience. As someone who was once in a similar relationship as the one between Dani and Christian, I found the film to be especially cathartic to watch. Full review here.

HONORABLE MENTIONS (Films I watched, but didn’t review – no order)

Horror Noire: A History of Black Horror, Wounds, The Nightingale, Knife + Heart, Velvet Buzzsaw, Ready or Not

BEST HORROR SHORTS OF 2019

5. Road Trash – Written and Directed by Natasha Pascetta

4. Fanatico – Directed by Hannah May Cumming, Written by Hannah May Cumming and Sam Schrader

3. Hana – Written and Directed by Mai Nakanishi

2. Cemetery Song – Directed by Michelle Prebich, Animated by Justine Prebich

1. Finley – Written and Directed by J. Zachary Thurman

BEST FILM SCORES OF 2019

5. Tigers Are Not Afraid – Music by Vince Pope

4. Black Site – Music by Max Sweiry

3. Candy Corn – Music by Michael Brooker and Josh Hasty

2. Midsommar – Music by The Haxan Cloak

1. Satanic Panic – Music by Wolfmen of Mars

BEST TV SHOWS OF 2019

5. Creepshow S1 – Shudder

4. N0S4A2 S1 – AMC

3. Castle Rock S2 – Hulu

2. What We Do in the Shadows S1 – FX

1. Stranger Things S3 – Netflix

BEST BOOKS I READ IN 2019 (not necessarily released this year)

5. Osgood as Gone by Cooper S. Beckett

4. The Girl with All the Gifts by M.R. Carey

3. My Best Friend’s Exorcism by Grady Hendrix

2. The Southern Reach Trilogy by Jeff VanderMeer (I know this is cheating since it’s 3 books, but it’s my list so I don’t care)

1. Lady From the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick by Mallory O’Meara

BEST EVENTS OF 2019 (no specific order)

  • Midsummer Scream
  • Portland Horror Film Festival
  • The Last Drive-In with Joe Bob Briggs on Shudder – including the holiday specials
  • Into the Dark on Hulu
  • Joe Bob Briggs Live: How Rednecks Saved Hollywood

 

 

Sweetheart

sweetheart

After an apparent shipwreck, Jenn washes ashore on a remote tropical island. As if having to survive stranded on an island isn’t bad enough, as night falls Jenn realizes a deadly creature uses this island as its hunting ground. Jenn will have to battle the elements, dehydration, starvation, and the creature in order to survive.

This thrilling new aquatic horror film is directed by J.D. Dillard (Sleight, Judy Goose). Dillard also co-wrote Sweetheart along with Alex Theurer (Sleight, Intervention) and Alex Hyner, this being Hyner’s first feature film. The film opens as Jenn awakes on the shore of the tropic island. She has to quickly come to terms with the shipwreck, the likelihood that all her friends are dead, and how she will live on the island until found. Jenn proves to be a very resourceful woman, even as she is forced to fend off creature attacks each night. I’ve always been a fan of aquatic horror films, especially those with unique creatures. Sweetheart not only delivers a fantastic creature feature that is exciting to watch, but it also gives the audience a heroine they can root for.

Sweetheart may be a great creature feature, but it is also very well written. Since Jenn is on the island alone for a majority of the film, there is very little dialogue. The story is told primarily through action, which is very difficult to do in this day and age. There has to be a balance of action and exposition in order to hold the audience’s interest. Dillard, Theurer, and Hyner do a phenomenal job of maintaining this balance throughout the film. They even know when to inject moments where Jenn speaks to herself to break up the silence. Similarly, the audience only learns things as Jenn reveals them or as they are revealed to her. This leaves certain plot points a mystery. While for the most part it works well, there is one plot point that alludes to the fate of a character. While it works in the sense that we only learn as much as Jenn does, it seems almost unnecessary. It hints at something that never becomes important by the end of the film.

What I found most compelling about the writing is the subtext. There are multiple references in Sweetheart to whether or not Jenn is a trustworthy person. It references how women, especially women of color, often have a hard time getting people to believe them. In this film it’s to make people believe there is a ravenous monster lurking in the water. In the real world, it’s to make cops or other people believe they have been abused, raped, or any number of other terrible things. It’s a not-so-subtle subtext that fits in perfectly with the horror genre.

The film has a small cast, each performance being great. Kiersey Clemons (Flatliners, Dope) absolutely carries the film with her performance as Jenn. The way Jenn adapts to her situation and does what she can to defend herself is fascinating to watch. Clemons perfectly portrays Jenn’s resilience as well as her striking ability to accept her situation and rise above it. Another vital and entertaining performance comes from Andrew Crawford (Alien: Covenant, Little Monsters) as the creature. While this isn’t a speaking role, Crawford breaks through the screen as an imposing and terrifying monster. There is also an elegance about the creature and the way it moves. These two opposing forces make for quite the power struggle.

Visually, Sweetheart has a lot going for it. The tropical setting is absolutely gorgeous, which makes the presence of a monster stand out. The setting is enhanced by some absolutely gorgeous cinematography by Stefan Duscio. Duscio especially has a way of using natural light sources, such as the sunset and fire, to enhance the scene and draw the eye to specific things on screen. Then there is the creature design. In a film where there are really two characters, Jenn and the creature, the design of the creature becomes a vital piece of the film. Luckily, the filmmakers chose to go with a practical monster design that is as terrifying as it is sleek. It looks like something that could exist in the tropical setting, living in the ocean and hunting on land. Some of the creature effects are enhanced by CGI, but it’s clear that for the most part it is practically made.

Sweetheart is equal parts monster survival movie and social commentary film. Dillard, Theurer, and Hyner prove to be a fantastic filmmaking trio. They create a film with minimal dialogue that tells a powerful story of survival, resilience, and strength. While there are one or two extraneous aspects that never become fully-formed subplots, they don’t necessarily detract from the primary focus of the film. It is still a stunning film with a frightening creature and an important message: believe women.

OVERALL RATING: 7.5/10

Favorite Things: Wintery Hellscapes

This time of year you can always find lots of great lists featuring holiday horror films. In fact, I have done one in the past (which can be found here). This year, I wanted to do something a bit different. Here are some of my favorite films that show the dark, desolate, deadly side of snowy winters.

Frozen (2010)

frozen.jpg

Adam Green (Hatchet) created something unexpected with Frozen, the most subtle and understated of his films. When three friends get stranded on a ski lift in the mountains, they are forced to find a way to escape or freeze to death. The film has great performances by the three leads and the snowy setting perfectly amplifies the dire circumstances the friends find themselves in. There is an anxiety in this film that worms its way into your chest and stays there until the bitter end, making it a winter must-watch.

Let the Right One In (2008)

let.jpg

This Swedish film creates a unique love story in the bleak and snowy landscape. Based on the novel by John Ajvide Lindqvist, young loner, Oskar, falls for the mysterious new girl next door. The only problem is, she’s over 200 years old and needs blood to survive. This film has such a beautiful plot filled with young love and realizing how far you will go for the ones you care about. The freezing, snowy suburbs of Sweden offer a fantastically ominous backdrop for the film.

Pontypool (2008)

pontypool

One of my favorite Canadian horror films, Pontypool tells the story of a radio host in a remote town in Ontario. The host is the first to report on a strange outbreak causing locals to attack each other. The film does a great job of not only creating a bizarre and entirely unique premise, but it also makes the viewer feel just as isolated as the host. While the outside world is a wintery hellscape of snow and murder, he’s trapped inside the radio studio. That single location helps to amplify just how dire the situation is.

30 Days of Nights (2007)

30days.jpg

This underrated vampire flick offers one of the most isolated and desolate settings for the carnage that ensues. A remote Alaska town prepares for the 30 days a year where the sun doesn’t rise, only to have the town overrun by bloodthirsty vampires. This film has darkness, freezing cold, and enough snow to make it impossible for the outside world to save them. It definitely creates a nihilistic feeling as it seems as though the characters are doomed. That combined with lots of thrilling bloodshed makes for an exciting and highly re-watchable film.

Wind Chill (2007)

WINDCHILL

This film often gets overlooked, but it stars Emily Blunt (A Quiet Place) and has a very intriguing premise. Two college students sharing a ride home for the holidays end up stranded in the snow on a road in the middle of nowhere. As if that isn’t bad enough, they soon find themselves terrorized by ghosts of people who died on that road. The film has great performances, a mysterious plot, and a few good twists to keep you guessing. It’s sure to make you think twice before taking any snowy side-roads anytime soon.

Ginger Snaps Back: The Beginning (2004)

gsb

Anyone who knows me won’t be surprised to find the third Ginger Snaps film gracing this list. This prequel takes the audience back to a trader’s fort in 19th century Canada. Brigitte and Ginger find themselves trapped there with a group of men as they fight off the winter as well as a pack of werewolves. Of all the films on the list, this one really emphasizes the isolation in the snowy wilderness in a time where transportation was by boat, horse, or foot. Plus, this selection has two badass female leads, giving some much-needed feminism to a time period of male bravado.

The Thing (1982)

thething.jpg

Now, you knew there was no way I could have a list of snowy horror films and not include John Carpenter’s The Thing. This classic film follows a small research team in the Antarctic when it discovers a dangerous life form that can take on the shape of anyone and anything. The film has the most isolated and snowiest location on this list, amazing practical effects, and some truly memorable performances. Plus, you can’t go wrong with Kurt Russell (Escape From New York) as MacReady. This is the kind of classic you can watch again and again, never tiring of it.

The Thing (2011)

thing.jpg

Much like it’s 1982 predecessor, this film focuses on a research team in the Antarctic. While this film doesn’t quite have the same magic as the ’82 version, it is still a fantastic film that deserves way more love and attention than it gets. The biggest differences are that this group was the first to find the “thing” and they have a different way of detecting who is still human. The main reason the film gets overlooked is the last-minute decision to go with mediocre CGI creature effects instead of the practical effects fans know and love. Despite that, I still adore this film with it’s surprise ending and love Mary Elizabeth Winstead (10 Cloverfield Lane) as the lead.