Cults in Horror Movies: “Rosemary’s Baby” (1968) – by Thomas S. Flowers (Part 1)

There is a strange, perverse, serendipitous feeling watching Rosemary’s Baby. This first of Roman Polanski’s American films opens with a New York City urban landscape outstretched and panned across, as if what we see is some malevolent box metal toy, wound up and played on the tune of some woman humming an intently sweet and ambiguous lullaby. But instead of some creepy jack-in-the-box, we get something much different in the end. Much more sinister. And utterly human, regardless of its supernatural parentage.

Throwback Thursday: “The Hills Have Eyes” and Extreme Horror

The label “extreme horror” means not only shocking content, a plausible story, and good acting. It also involves a contemporary feel that allows a horror film to bypass audiences’ disbelief and target their primitive fears. The Hills Have Eyes and its remake are good examples of how horror needs to challenge the moving targets of norms and boundaries to remain relevant and effective.