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TOP 13 HORROR SUB-GENRES (Part 2 of 3)

I recently read a piece about how certain sub-genres of horror seem to correlate with similar strata of metal music; death metal matching splatter horror, power metal comparing to action horror, etc.

As a fan, such classifications help me find the kind of horror film for which I’m in the mood, while as a writer, it helps to have some point of reference with which to promote my work — though, in the interests of being all “punk rock” and whatnot, I pay lip service to the notion of defying pigeonholery, and to seeking films and books that do the same.

Thus, I’ve attempted to compile an overview of horror’s various niches, with some illustrative examples. Almost every horror film is a crossover to some degree, of course, which is why the horror universe keeps expanding.


The-FlyBODY HORROR

Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde might well be the first fictional take on body horror, a sub-genre based on the concept of one’s physical person being changed or violated. It surely is the most personal and accessible form of horror, given that it stems from the loss of control that accompanies birth, adolescence, aging and death; all radical changes happening to us, over which we exert little control. Add disease and injury, and the idea that we have any individual sovereignty seems almost ridiculous.

In THE FLY, especially the Cronenberg remake, we see bodily changes that might be regarded as improvements — until we realize that these come at the price of humanity. Also true of many film versions of the werewolf legend, which more closely resemble Stevenson’s aforementioned classic than their original folklore — except that poor Larry Talbot and cousins had no choice in undergoing their transformations.

Citing Cronenberg again, eXistenZ puts the viewer inside a game that is more organic than technological. To play, one has to merge with the game itself. VR seems relatively obsolete doesn’t it? In an industry that values immersive experience, might it be possible to be changed beyond return?

Other examples include Body Melt, Cabin Fever, Clown, Horns, and Thinner.


54d40836cd193_-_godzilla-classicCREATURE FEATURE

Pretty well self explanatory, though there are a couple of crucial parameters. It’s all about the monsters, and best left at that. Character development is not the main attraction in a creature feature, and given SyFy’s long list of formulaic CGI monster-of-the-week Saturday slot-fillers, not even particularly welcome Don’t get me wrong; there are great creature features with wonderfully-drawn principals. It’s just not the current norm. Most Japanese kaiju and 50s-era radioactive mutant movies qualify — “mutant” being a key word. Jaws, Anaconda, being real-life horrors of nature, fall into our next category.


44_d__0_Swarm

NATURE RUN AMUCK

When the giant ants and lizards of the 50s shrunk back down to their God-ordered proportions in the 70s, the Nature Run Amuck subgenre was born. Instead of just doing what they do, only as giants, post-hippie era critters are usually more intelligent, populous, and/or aggressive, made unmanageable by an unprepared but generally deserving mankind. Phase IV pits a crew of scientists against a colony of ants. Swarm plays on the 70s fear of “killer bees” migrating from Brazil. “Link” sees research apes turning the tables on their human keepers. In “Frogs,” it’s a lot more than the titular amphibians who upset the balance, and of course, every natural disaster is made worse by combining it with sharks or spiders.


scream-1996-brrip-650mb_tinymoviez1HORROR COMEDY

Call me a curmudgeon. I just don’t see the point. Do you want to scream or do you want to laugh? Some of the best horror flicks contain moments of brilliant black humor that serve to break tension at crucial points. A horror comedy takes the thing that you focus your fears on and makes it a joke. Everything deserves to be parodied at some point — but is it asking too much for a little subtlety. SCREAM for instance, or POPCORN. But the SCARY MOVIE treatment is unnecessarily heavyhanded.


Brain-DeadMINDFUCK

In the Charles Beaumont-scripted BRAINDEAD from 1990, Bill Paxton is leaving work, carrying a long a brain in a jar, hoping to catch up on his research at home. There’s a tussle with a hobo, and the jar, brain and all, shatters on the sidewalk. It’s a good metaphor for what this subcategory aims for. (As an aside, it’s also a damn sight more hilarious than any of the SCARY MOVIE films, near as I can estimate.) The plot often involves following a protagonist as he or she seemingly descends into madness — or is led to believe they are. It lends itself to creative special effects sequences, as well as unexpected story twists, as it is not necessarily constrained by conventional plot structure. It’s also a fairly loose designation that could encompass films as different from each other as ALTERED STATES, VANILLA SKY, TOTAL RECALL, TETSUO: THE IRON MAN, and PHANTASM.


Come back next week for FOLK HORROR and more.

READ TOP 13 HORROR SUB-GENRES (Part 1 of 3)

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TOP 13 HORROR SUB-GENRES (Part 1 of 3)

If there’s anything the internet has taught us to do, it’s to pointlessly compartmentalize pop-culture trivia to the point it almost seems to matter. You can find lists of everything from Top 10 Worst CGI Effects to 7 Best Songs About Drugs.

Because horror is so diverse in scope, most fans tend to find one or two particular sub-genres they favor; or more often, they go through phases of certain directors, eras, scenarios, or in the case of fiction, authors or publishers.

I recently read a piece about how certain sub-genres of horror seem to correlate with similar strata of metal music; death metal matching splatter horror, power metal comparing to action horror, etc.

As a fan, such classifications help me find the kind of horror film for which I’m in the mood, while as a writer, it helps to have some point of reference with which to promote my work — though, in the interests of being all “punk rock” and whatnot, I pay lip service to the notion of defying pigeonholery, and to seeking films and books that do the same.

Thus, I’ve attempted to compile an overview of horror’s various niches, with some illustrative examples. Almost every horror film is a crossover to some degree, of course, which is why the horror universe keeps expanding.


haunted mansion

GOTHIC

Influenced by the success of Hammer Films’ 50s era reimaginings of classic literary monsters like Frankenstein, Dracula and The Mummy, one Mister Roger Corman produced a series of Poe-inspired films set in gloomy, cob-webbed castles and fog carpeted landscapes, setting the stage for Italian filmmakers to do the same. These films, like the contemporary sub-culture of overly-eyelinered teens which shares the term, relied on gloomy mood rather than startling sudden jumps, leaving an overall impression of oppressive nihilism rather than the roller coaster feeling wrought by less subtle types of horror. Perhaps due to its more deliberate pacing, gothic horror is not one of the more popular sub-genres of recent years, but certainly has its fair share of classics. THE PIT AND THE PENDULUM, THE RAVEN, BLACK SUNDAY, BLACK SABBATH, HOUSE OF USHER

And of course: GOTHIC

Some more contemporary examples: SWEENEY TODD, SLEEPY HOLLOW, THE OTHERS


evil-dead-ii-1987-04-g

SPLATTER

A splatter film need not necessarily be a horror film, but by nature, it would certainly be horrific. George Romero is credited with the first use of the term, so it’s clearly not meant as dismissive, given that his “Dead” series is heavy on social relevance. However, there is more bad splatter than good, as gore was a notoriously easy sell in the grindhouse -and later- DTV markets, hooking the least compromising of screen thrill seekers.

Hammer once again gets much of the credit for bringing (what was once considered) excessive bloodshed to the cinemas, and again it was the Italians who took it and ran with it. 80s Italian horror films went far beyond the level of their British or American counterparts, with lingering, often close up depictions of eyeballs pierced, breasts chewed off, brains eaten and much much worse, all before the advent of CGI allowed filmmakers to create such mayhem in a sanitary editing room. Yes sir, FX technicians had to live the nightmare, and get down and dirty to simulate brutal slaughter back in the old days.

It’s worth noting that splatter has a good many sub-sub-genres and crossovers, such as blood-spurting-yet-somehow artistic samurai films, and the nearly unwatchable collection of cannibal flicks that stained drive-in screens during their heyday. This subgenre is presently thriving at the mainstream level even on television via popular fare like THE WALKING DEAD and AMERICAN HORROR STORY. DAWN OF THE DEAD, DAY OF THE DEAD, ZOMBI, THE EVIL DEAD, JIGOKU, CANNIBAL HOLOCAUST, BRAIN DEAD, SIN CITY, LONE WOLF AND CUB, REVENGE OF THE NINJA, MIDNIGHT MEAT TRAIN, HELLRAISER

sigourney-weaver-aliens-1

SCI FI

ALIEN is probably the first film that comes to mind when one thinks of a sci-fi/horror hybrid, but it’s far from a watermark. Thomas Edison himself created what was likely the very first sci-fi and/or horror film when he made a loose adaptation of Mary Shelley’s “Frankenstein” way back in nineteen-and-ten. The 30s Universal effort could also be called sci fi, along with it’s sequels and crossovers featuring other, folkloric based beasts. But the mix of sci-fi and horror truly come into its own in the 50s, when fears of the new and seemingly limitless powers of atomic energy and space travel gave rise to fears that scientists had gone too far in tampering with nature. Film producers took up where the long-dated warnings of Mary Shelley, H.G Wells and Jules Verne left off by imagining ever more gigantic and unstoppable mutations and manifestations from just beyond these new scientific horizons.

ALIEN was beaten to the punch during this era, coming across in retrospect as an uncredited remake of IT! THE TERROR FROM BEYOND SPACE and Mario Bava’s PLANET OF VAMPIRES.

Some of the best horror is wed with sci fi, as is some of the worst. Getting right down to it, sci-fi horror presents us with some extra-terrestrial threat but genetic mutation is a big seller as well. THE THING, VIRUS, THEM!, TARANTULA, GODZILLA KING OF THE MONSTERS, THE DEADLY MANTIS, THE INCREDIBLE SHRINKING MAN, THE FLY, PANDORUM, GALAXY OF TERROR, THE DAY THE EARTH STOOD STILL

halloween_0

SLASHER

I don’t think there are any blurred lines in regard to what a slasher film is. Though PSYCHO and TEXAS CHAINSAW MASSACRE appeared a few years before the great slasher boom that came in the aftermath of HALLOWEEN, they’re still largely considered part of the subset. But it was actually Bob Clark’s unsettling BLACK CHRISTMAS that set the blueprint. Assuming the set up for a slasher film (with little variation) is agreed to be a set of teens or young adults targeted by a demented stalker on or near a holiday in an isolated setting, it seems to be a pretty limited formula. However, close examination reveals that some of the most highly regarded horror films, such as THE SHINING and ALIEN, are essentially slasher films.

Many, especially from the 80s, also double as whodunits in the best Agatha Christie tradition. Once the initial wave of holiday-themed cash-ins settled and other flavors took over the public palate, slasher films became nostalgia, and soon after, fresh again, via Wes Craven and Kevin Williamson with the SCREAM series. Everything that made the sub-genre overtly formulaic was turned on its ear and used against the audience in brilliant fashion. Ironically, this ushered in a whole new age of cookie cutter slashers in the 90s.

These days, the slasher film is surviving, if not thriving, via mostly superior, amped up or intentionally retro variations like LAID TO REST, MALEVOLENCE, HATCHET, and the surprisingly clever BEHIND THE MASK: THE RISE OF LESLIE VERNON.

With 1984’s A NIGHTMARE ON ELM STREET, the addition of supernatural elements mutated the sub-genre and squeezed some more life from it, giving us an undead Jason in FRIDAY THE 13TH 6 and other defining entries like: BAD DREAMS, CANDYMAN, VENOM, KILLER PARTY

I’d be remiss if I didn’t mention Italy’s giallo movement, but it deserves a more extended treatment and might even be considered its own sub-genre.


That’s it for this week. Come back next week when we explore more horror sub-genres including Creature Features, Comedy Horror and more.


CINEMA’S GREATEST MONSTER MASHES -PART 1!

If the Avengers and The Expendables franchises have taught us anything, it’s that more is better, or at least…morier. And while horror fans may enjoy the classic scenario of a small group facing a singular implacable menace, sometimes it’s fun to engage in sensory overload via a film filled to the face with a variety of menaces.

This list focuses on the over-the-top monster mashes that leave us sated like scary smorgasbords.  No ALIENS, STARSHIP TROOPERS, zombies or other multitudes of the same species here; the following focus on flicks with several different kinds of monsters.

KING KONG
Back in 1933, horror and monster pictures were just beginning to take hold and prove their box office worth. But Universal’s nascent house of black and white horrors must surely have paled (literally) in comparison to RKO’s monster fest KING KONG. O’Brien had worked on a silent adaptation of Arthur Conan Doyle’s THE LOST WORLD nearly a decade earlier, but  comparatively speaking, KONG was light years ahead in the FX department, featuring stop motion special effects work by Willis O’Brien that included not only the titular monster monarch but a stegosaur, bronto(or pleisio?)saur, styracosaur, a giant lizard and the triple threat of an allosaurus, eel monster and pterosaur engaging Kong in epic battles.King Kong 1933

As if that wasn’t enough. O’Brien and crew devised an icky menagerie of smaller insect and reptile critters that attacked crew members forced off a log bridge and into a swampy pit by Kong. Reportedly, this scene was deemed too horrific by studio suits, so it wound up on the floor. Sadly, that footage is long lost.

In 2005, Universal released a fun -if overlong- remake created by The Lord of The Rings director Peter Jackson and his New Zealand effects house WETA, which featured more of everything, including the pit scene.

This would not be Jackson’s first shot at the infamous sequence though, as he lovingly recreated the lost footage based on the original script and various descriptions. See it here!

THE BLACK SCORPION
There was plenty of dino-filled matinee fare after KONG, though most were not nearly as well realized. Japanese films mostly just pitted single monsters (including Kong) against their reigning champion Godzilla until the mid-sixties, but this entry in the giant bug brigade, coming in 1957, brought back O’Brien and his creepy stop-mo aesthetic for a unique, if rather cheap effort that, aside from the titular mutants (their were actually many of the big arachnids) presented an unnerving subterranean sequence filled with spiders and worms that had all the nuclear age housewives shaking out their bouffants and sleeping with their kids’ Daisy BB repeaters for months.

DESTROY ALL MONSTERS!
Japan’s Toho Studios followed Universal’s formula of one film containing multiple monsters in 1965 by bringing their Big Three, Godzilla Rodan and Mothra, together to battle the new menace of GHIDORAH THE THREE HEADED MONSTER but it wasn’t until 1968 that they assembled no less than eleven kaiju for a proper monster party set in the far away future of 1999, when daily moon trips were/will be the norm and all the giant menaces that have so plagued the world have been corralled onto a pacific island affectionately termed Monsterland. But as we all know, the future will bring with it alien contact, and in this case the aliens are hostile. They’ve devised a method to control the monsters and promptly release them to raze the world’s capitols. Godzilla and friends, Rodan, Mothra, Anguirus, Kumonga and many more, eventually turn face and help defeat the aliens but the enemy has an ace up their silvery sleeves: King Ghidorah. The space demon, vastly outnumbered, quickly succumbs, finally dying after three films. It’s fun to see the 90s through the eyes of the 60s, but all those monsters onscreen at once is a 12-year-old sci-fi geek’s dream come true.

AT THE EARTH’S CORE
Exploitation studio stalwarts American International and Amicus came together for this very very 70s B pic based on an Edgar Rice Burroughs tale featuring western star Doug McClure, Peter Cushing and the irresistible Caroline Munro, in a tiny animal skin bikini no less. The plot: Victorian era scientists ride a drill machine past the earth’s upper crusts, where they find a neolithic civilization enslaved by a race of rodent men who are in turn working for telepathic flying reptiles.
But wait, there’s more. Along the way, our heroes encounter dinosaur-like beasts unseen in the above-ground fossil record, such as a giant bulldog lizard thing, two bipedal wild boars fighting over a mansnack, a beaked allosaurus, a fire breathing toad, and a creepy carnivorous plant. The same producers followed up with the equally monster-filled THE LAND THAT TIME FORGOT and WARLORDS OF ATLANTIS, but neither of those carries the weird charm of this bad boy.

GALAXY OF TERROR
Just get a look at the poster art and there can be no doubt that this ALIEN-inspired Roger Corman production, despite its budget shortcomings, delivers monsters galore, and yes, a full galaxy’s worth of terror, not to mention a cast to kill for: Robert Englund, Edward Albert, Ray Walston, Erin Moran and Sid Haig. But its Taafee O’Connell who is best remembered for the dubious distinction of being raped by a giant maggot thing. So yeah, this is that kind of flick. Quite a departure from the above-mentioned films in terms of subject matter. Aside from the maggot thing, there is a tentacled brain sucker, a malevolent disembodied arm, a glowy-eyed giant demon, sentient wires, Erin Moran minus epidermis, and… okay not as much monstrage as some of the previous flicks, but just the idea of a film trying to outgun ALIEN earns it those coveted monster mash points.

THE 7TH VOYAGE OF SINBAD
The legendary sailor and adventurer began his film career in 1958 with Ray Harryhausen at the helm of spectacular stop motion effects that, for my money, are his best work. Kerwin Matthews leads a cast of white folks playing Arabs doing battle with and running from, such monstrosities as Talos The Bronze Giant, a vicious horned cyclops, a two headed vulture, (aka a ‘Roc,’) a massive fire breathing dragon and an army of unsettlingly agile skeleton warriors. Spawned a handful of sequels, but none compare to the majesty and wonder of the original.

INFRA-MAN aka THE SUPER INFRAMAN
OMG, ya’ll — a Chinese kung fu/sci-fi/monster flick? No further sales pitch needed. An ancient subterranean troupe of intelligent and malevolent monsters (hmm…kinda like NIGHTBREED, but much better at jump kicks) rises to overtake the world and install as its ruler The Princess Dragon Mahm, a seriously bad bitch with a hand that is a dragon’s head sprouting a tongue for a whip. …FUCK yeah. That’s not all she has up her sleeve — er, reptile…arm/neck. She turns into a full blown winged dragon that can re-grow its head, countless times! So, a scientist creates an implant or something that allows bad ass Danny Lee to turn into the titular hero via a series of aerial flips. Just in time too, because the princess’ horrific hordes are as brutally destructive as they are ugly. Infra-Man’s seemingly unlimited powers serve him in battle against: a reptilian bulldog/gorilla beast with one metal drill hand and one metal boxing glove! A green tentacled fellow who can plant himself like a seed and sprout to Godzillian heights as a bundle of flailing tentacles! An orange bipedal arachnid who traps dudes in web spheres! An armor plated demon with a red mustache! A chick with eyes in her hands, that, of course, shoot lasers! Infra-Man is obviously China’s answer to Ultraman, Kamen Rider and countless other Japanese heroes, but I have to admit — I’ve always liked INFRA-MAN better than any of those shows.

More MONSTER MASHES to come!


New Godzilla Teaser!!!!

A presentation of Warner Bros. Pictures and Legendary Pictures, Godzilla will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company, except in Japan, where it will be distributed by Toho Co., Ltd. Legendary Pictures is a division of Legendary Entertainment.Slated to open on May 16, 2014, the film is expected to be presented in 3D.

via New Godzilla Teaser!!!!.


No Skinny Iguanas!

godzilla otakuAnyone who knows me will attest that, among my many and varied interests, Godzilla and other Japanese sci-fi icons (sci-ficons? Did I just invent a geek-culture term, ala Forry Ackerman?) occupy a lofty space. I’ve been a fan of the The Big G, as we “Otaku” (nerds) affectionately call him, since I was around five, and that interest has never left. It was because of Godzilla, I would say, that I came to be obsessed with Asian culture/martial arts (a Godzilla/Green Hornet double feature introduced me to Bruce Lee), weird cinema (doesn’t get much weirder than Godzilla vs. The Smog Monster) cryptozoology, and hell, probably heavy metal, if one were to make the connection between that Blue Oyster Cult song and the musical genre that grew up around BOC, Sabbath, etc.
godzilla 54
If you haven’t heard, Legendary Pictures and Warner Brothers, with some help from Roy Lee, who has brokered deals leading to remakes of several Japanese properties, including The Ring, Dark Water, The Grudge, etcetera, have secured the rights to create a big budget Hollywood film featuring Godzilla, directed by Gareth Edwards of the indie hit Monsters, to star Bryan Cranston (you’ll always be Malcolm’s dad Hal to me, Bry), Ken Watanabe, Juliette Binoche and even Akira Takarada–star of the very first Godzilla film, way back in 1954.

138538-godzilla_facepalm_godzilla_facepalm_face_palm_epic_fail_demotivational_poster_1245384435_superWe’ve been down this road before of course; former tent pole movie flavors-of-the-month Dean Devlin and Roland Emmerich produced their own take on the famous monster for Tri-star back in 1997, and while it can be considered a financial success, most Godzilla fans, casual and fanatical alike, were severely disappointed. as there was no real sense of it being anything other than  a generic giant monster movie. Certainly, it was not a Godzilla movie. The beast himself was represented as an awkward lizard mutation with an expressionless, blocky head sitting atop a lithe and raptor-like iguana body; pretty much the opposite of the Godzilla we’d all come to know. Worse, it (no gender can be assigned, as the monster was said to be asexual, in yet another deviation from the mythology) ran from the military, whereas the Japanese Godzilla, the real Godzilla, would never run from a fight–that’s part of who he is after all, and why we love him.
GODZILLA_ENCOUNTER_-_Quotes_-_Godzilla_Son_of_the_A-BombLast week, the annual big-ass nerd orgy known as Comic-Con came to San Diego, and while it’s doubtful that any virginities were endangered, there was much to be seen from Legendary regarding their stab at the franchise. An exhibit called Godzilla Encounter treated attendees to the experience of evacuating an elaborate noodle shop-turned-attack site, including a dramatization of G walking past an office set–then turning back, having detected the hapless evacuees.
godzilla bob egg 2014At a panel presentation promoting the upcoming film (which finished shooting a mere day prior), a teaser was shown, giving con-goers a glimpse of our hero’s feet and body–but not the head. Several early design concepts were on display, including maquettes, a bust and some drawings; accompanied by the disclaimer that none of these represented the final product.
Footage of the encounter has found its way to the internet of course, and been subsequently removed, thanks to legal action from Legendary. It’s not too hard to find grainy stills, and artist Bob Eggleton, who has created countless comic book covers and posters of Godzilla, even penciled a sketch based on the footage. 
Still, Legendary/Warner remain coy with the final design of the iconic monster; a move whose reasons can only be conjectured, in light of the massive wave of disappointment that erupted from fans when Tri-star finally revealed their misbegotten makeover. They admittedly want to avoid the mistakes of the past–yet here we the fans are, scanning poor res, clandestinely shot phone footage for the barest glimpse of the new design.Throughout his near-sixty year film career under the auspices of Toho Studios, Godzilla’s appearance changed often and at times significantly, from terrifying, to friendly to downright goofy. Still, Godzilla’s fans accepted him, as long as he maintained a handful of basic recognizable attributes.
godzilla sadThick, trunk-like legs to support his massive weight, a rough, scaly, dark grey (only rarely green!) hide, short but powerful arms held forward like a wrestler, a thick neck, a reptilian head with hints of ape-like expressiveness, and of course, three rows of roughly-leaf shaped dorsal fins along his spine were the physical attributes. But Godzilla has a certain personality as well, a steadfastness, a savage destructive drive that raises goosebumps when set in motion. Yet there is something melancholy about his isolation, his status as, more or less, the only one of his kind. Godzilla is Frankenstein writ large, a thing made by men as a mere side effect of a greater experiment, that has grown out of control and become the target of man’s own destructive instincts.
I’ll go out on a limb and say that if Legendary nails this, fans will accept virtually any reasonable variation of the basic design. No skinny iguanas, no bold new interpretations for the digital age–give us a monster king that looks like a guy could wear that suit, if need be, and make sure there’s some other beast, the ass of which Godzilla is pre-ordained to kick, and I think we’ll all see eye to menacing eye.