I’m an exceptionally cautious person so I am accustomed to characters in horror films making decisions I would not in order to drive the story. However, I cannot suspend my disbelief on this one. A group of friends on a casual vacation choose a one hour drive, followed by a one hour hike through dense jungle that they are told is a dangerous area, to get to an unremarkable swimming hole, over a perfectly pleasant time drinking beer at their…
I wanted to love this, but ultimately I only liked it. Rollin’s imagery is compelling, and his much celebrated melancholy delivered.
For me, I don’t believe children fall in love as often as movies would have us believe, and I don’t enjoy films that hinge on that concept. I come to horror for women protagonists, not for fantasies about girls who stay 16 forever.
This is the Texas Chainsaw descendant that we needed!
From the first frame Ti West shows you that this is a film that will examine film, with a shot that seems to be in a narrow aspect ratio—until the camera moves to reveal we are looking out between barn doors, and it was wide screen all along.
If it has a thesis about exploitation film, it’s stated by their camera man: “A dirty film can be a good film, too.” And that’s what this is—a damn good horror film, unabashed about delivering the gore and the sleaze that we want.
100 Horrors/92 Days Challenge: 13/100
Put this one off for a long time because I assumed the portrayal of “voodoo” would be problematic, and, of course, it is. I wouldn’t defend this film against criticism.
But nonetheless, the film is beautiful to watch. It is artfully shot. The dark black and white pleases my eye. The melancholy theming has some potential that isn’t quite fulfilled for me.
When I put myself in the shoes of a 1930s audience member,…