Although BORDERLAND is an entertaining movie, it’s not one of the better examples in our Loud Green Bird series on cults in horror. Its refusal to develop its story’s occult themes (by taking them seriously) removes a powerful source of horror.
The cult aftermath can be a horrendous experience. Leaving a cult can be dangerous in psychological and physical ways. The person who leaves a cult can have anxiety about whether… Read more “The Cult Aftermath: “Martha Marcy May Marlene” (2011)”
Keating chooses an interesting angle to tell his tale, to the point where we’re left wondering just what type of story this is. For a long stretch, the cult isn’t even (visually) present; and even when it finally appears, the members’ ultimate motive is left to speculation.
The common factor of most cults is they don’t appear dangerous at the beginning. They appeal to those looking for guidance and acceptance. They offer understanding and a chance to be part of something important. It is only after the person has been lured in do they realize the price of belonging is the sacrifice of everything they have and their complete subjugation. STARRY EYES is more than a cautionary tale about a naive starlet sucked into the seedy side of show business. It is Hollywood as a cult, feeding on ambition to achieve its demonic ends.
If “Darling” (2015) is any indication, there are exciting times ahead for women in film as well as for fans of independently-produced horror movies.
On the surface, Teeth (2007) is a sometimes-silly dark comedy with a horrific premise that borders on grindhouse-style exploitation. But writer-director Mitchell Lichtenstein’s first feature film, which premiered… Read more “Extreme Horror: “Teeth” (2007)”
Another Heaven and Suicide Club both focus on late 1990s Tokyo detectives. One detective is young and single. The other is middle-aged and has a wife and kids. Cases involving suspicious deaths that turn out to be far from run-of-the-mill confront both of them. Both soon realize that there’s more going on than meets the eye. At first, none of their colleagues will believe them. How will they deal with these cases?
If you watched only half of Red White & Blue (2010), you would think it was a more coherent and serious version of Richard Linklater’s Slacker (1991 – see my review and its follow-up article). If you watched the entire film, you would see that the dramatic storyline builds to a violent finale that marks it as a contender in the extreme horror subgenre.
This is one of the most brutal and boundary-crossing films I have seen to date.
As the poster art above attests, Lars von Trier’s ANTICHRIST has been a sort of Rorschach test for film critics and cinephiles since its controversial premiere at… Read more “Terror Tuesday: “Antichrist” (2009, dir. Lars von Trier)”