Halloween 2020, Day 16
I’ve already made a separate post in the past with recommendations of Anton Yelchin’s Halloween-friendly films, so I won’t repeat those here.
Now I have a few new recommendations to add to my list, based on this past year’s viewing. (We accessed nearly all of these via Netflix or Amazon streaming.) Here they are in reverse chronological order: Here are my 2019 recommendations: You Should Have Left (2020): This is a very effective troubled-family-on-vacation film, packed with layered characterization and psychological unease. The incredible chemistry between Kevin Bacon and Avery Essex makes a genuinely moving father-daughter relationship the heart of this film. It really works.
American Hangman (2019): This is a powerful thriller with a lot of meaning. Even though Donald Sutherland’s genius is undisputed, it’s still stunning to watch him here. I’ll use the official description so I don’t give more away than I should: “Two men are chained up in a basement. The captor has cameras aimed at them and is streaming it on the internet – turning it into a ‘trial’ on the held, retired judge’s last court case. The viewers become the jurors.” The Color Out of Space (2019): This is an adaptation of one of my very favorite Lovecraft works, so I was braced for disappointment. Instead, this turned out to be one of our favorite films of the year. Sensitive, poignant, and genuinely scary, this film genuinely delivers on every level, including the pathos inherent to the story. I’m agnostic about Nic Cage – he doesn’t make or break a film for me – but his performance really worked here, as did that of the ever-capable Joely Richardson. It was delightful to see Q'orianka Kilcher and Tommy Chong in solid supporting roles, as well. Watch this one! Doctor Sleep (2019): This is an adaptation of Stephen King’s sequel to The Shining. It’s not a perfect film, but it’s interesting and visually stunning and packed with able actors. (Five words: Zahn McClarnon as Crow Daddy. I can’t stress this enough.) I’m sure many would find this crazy, but if given the choice right now, I would rather watch Doctor Sleep again than watch The Shining again. So there. In the Tall Grass (2019): Is this the best Stephen King (more accurately, Stephen King and Joe Hill) adaptation ever? No. Did I enjoy every minute spent lost in the grass maze with over-the-top Patrick Wilson? Yes. Yes I did. Your mileage may vary based on your level of Patrick Wilson appreciation. Mine is high. Midsommar (2019): Yes, I know this isn’t an “under the radar” film, but we really loved it, so I wanted to take this opportunity to say so. Ready or Not (2019): Dark comedies are often hit or miss for me, but this newlywed-hunted-by-her-evil-in-laws-in-Satanic-ritual romp is a definite hit, both clever and funny. Vivarium (2019): This science-fiction mind-game of a horror film messed me up and continues to haunt me, and I mean that in the best possible way. I knew nothing about it going into the film, and I think that was for the best. Highly recommended.
We Have Always Lived in the Castle (2019): This is a very well crafted adaptation of a novel by Shirley Jackson that I love. I was prepared to be critical, but the film thoroughly won me over with brilliant visuals and performances – Taissa Farmiga and Alexandra Daddario are phenomenal – and a screenplay that emphasizes how relevant this story remains. Read the book first, but then treat yourself to this movie. Delirium (2018): This isn’t a great film, but it keeps the twists and turns coming, and it uses the unreliability of the protagonist’s hallucination-laden point of view to good effect. You really need to suspend your disbelief to swallow the “young man released from twenty years in a mental asylum into house arrest at his dead father’s mansion” premise, but once you’re there, the oppressive isolation and sense of unreality are worth your time. The Wind: Demon of the Prairies (2018): This slow-burn Western plays on the horror and desperation of solitude – especially for settler women – on the frontier. Women’s points of view are highlighted here in a refreshing and chillingly effective way.
Lost Child (a.k.a. Tatterdemalion) (2018): We were really enchanted and moved by this work of “hillbilly Gothic” or Ozark folk horror. When a combat veteran returns home with the scars of war on her psyche, she encounters a boy in the woods. Is he a lost child in need of her help, or is he the tatterdemalion of local lore, a demon who wants to feed on her very life? This is a quiet, haunting, compelling story of pain, superstition, and the people who fall through the cracks.
Voice from the Stone (2017): This is a classic old-school Gothic film of the “new governess for troubled child after mother’s death” mold, and it delivers all of the lush atmosphere, claustrophobia, and passion needed. This is a beautifully disturbing movie. Kudos to Emilia Clarke for her compelling performance. Bone Tomahawk (2015): Why on Earth did I wait so long to watch this Western horror film? More Patrick Wilson, more Zahn McClarnon, both tremendous pluses. Outstanding Kurt Russell content. Genuinely scary and less gratuitously gory than I’d feared. Lake Mungo (2008): I’m so glad Mike Davis of The Lovecraft eZine recommended this film, which is a “mockumentary” about a family trying to come to turns with the drowning death of the daughter/sister. Are we witnessing how grief yields false hope and makes us vulnerable to charlatans, or is something supernatural taking place? This is a subtle work of slowly-mounting terror. Really delicious. Mike now tells me that if I loved this film, I need to read Disappearance at Devil’s Rock by Paul Tremblay, so I’m going to do that too! Click below for my recommendations from previous years. Read more …
View the full post.
