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Due to the highly publicized conversations between Roger Ebert and Gene Siskel, especially in the early ‘80s, about the moral boundaries of horror movies, Roger is often accused of disliking the genre. Nothing could be further from the truth. Not only did he give his highest rating to future classics like “Dawn of the Dead,” “Nosferatu,” “The Shining,” “Carrie,” and “The Blair Witch Project,” but he was often willing to go out on a limb for young horror filmmakers or projects that he didn’t think were getting the right amount of attention. Here are quotes from 10 such reviews, including early projects by Guillermo del Toro & Lucky McKee, an underrated David Cronenberg, and a low-budget hit that truly changed the industry. We’ve also included where to watch them.
“Body Snatchers” (1993)
Most important, for a horror film, there are scenes of genuine terror. One shot in particular, involving a helicopter, is as scary as anything in “The Exorcist” or “Silence of the Lambs.” And the fright is generated, not by the tired old slasher trick of having someone jump out of the screen, but by the careful establishing of situations in which we fear, and then our fears are confirmed.
For rent on most VOD services for $3.99.
“The Dead Zone” (1983)
“The Dead Zone” does what only a good supernatural thriller can do: It makes us forget it is supernatural. Like “Rosemary’s Baby” and “The Exorcist,” it tells its story so strongly through the lives of sympathetic, believable people that we not only forgive the gimmicks, we accept them. There is pathos in what happens to the Christopher Walken character in this movie and that pathos would never be felt if we didn’t buy the movie’s premise.
Streaming on AMC+. For rent on most VOD services for $3.99.
“Don’t Be Afraid of the Dark” (2010)
This is a very good haunted house film. It milks our frustration deliciously. The adults are forever saying and doing the wrong things, and making stupid decisions, and Alex is bullheaded, and Kim is conflicted. And the shadows are deep and dark, and the screws in the grating of the flue seem to turn themselves, and no one will pay attention to little Sally, and somewhere in the audience will be a kid who gets inspired to make his own horror films.
Streaming on Peacock. For rent on most VOD services for $3.99.
“Let Me In” (2010)
Where this will lead is easy to guess. Owen will move into Abby’s life as her next Familiar. She will protect him. Among the things she will save him from is the necessity of growing up and functioning as a normal male. She will control everything. Thus Bela’s sweet masochism will become Owen’s hunger to give over control. To be a servant is the price for not being a victim. Those hoping to see a “vampire movie” will be surprised by a good film.
Streaming on Tubi. For rent on most VOD services for $2.99-$3.99.
“May” (2002)
“May” is a horror film and something more and deeper, something disturbing and oddly moving. It begins as the story of a strange young woman, it goes for laughs and gets them, it functions as a black comedy, but then it glides past the comedy and slides slowly down into a portrait of madness and sadness. The title performance by Angela Bettis is crucial to the film’s success. She plays a twisted character who might easily go over the top into parody, and makes her believable, sympathetic and terrifying.
Streaming on Apple TV+. For rent on most VOD services for $3.99.
“Mimic” (1997)
One does not attend “Mimic” hoping for more than a few new twists on the durable old idea; such movies, like thrill rides at parks, work every single time if they have been well planned and constructed. But “Mimic” is superior to most of its cousins, and has been stylishly directed by Guillermo Del Toro, whose visual sense adds a certain texture that makes everything scarier and more effective. It’s not often that a movie like this can frighten me, but I was surprised at how effective “Mimic” is.
Streaming on Paramount+. For rent on most VOD services for $3.99.
“Orphan” (2009)
After seeing “Orphan,” I now realize that Damien of “The Omen” was a model child. The Demon Seed was a bumper crop. Rosemary would have been happy to have this baby. Here is a shamelessly effective horror film based on the most diabolical of movie malefactors, a child.
Streaming on Paramount+. For rent on most VOD services for $3.99.
“Paranormal Activity” (2007)
“Paranormal Activity” is an ingenious little horror film, so well made it’s truly scary, that arrives claiming it’s the real thing. Without any form of conventional opening or closing credits, it begins by thanking “the families of Micah Sloat and Katie Featherston” and closes with one of those “current whereabouts unknown” title cards and a screen of copyright notices. This was apparently a film made without a director, a writer, a producer, grips, makeup, sound, catering or a honey wagon.
Streaming on Max. For rent on most VOD services for $3.99.
“The Possession” (2012)
“The Possession” is a serious horror film about supernatural possession that depends on more than loud noises to scare us. Like “The Exorcist,” the best film in the genre, it is inspired by some degree of religious scholarship and creates believable characters in a real world. That religions take demonic possessions seriously makes them more fun for us, the unpossessed.
Streaming on Peacock. For rent on most VOD services for $3.99.
“Wolfen” (1981)
“Wolfen” develops a strong, angry theme about ecological and human waste. We learn that the wolves make their headquarters in a ruined section of the South Bronx that resembles a bombed-out wasteland. Their original victim, the politician, had just visited there for a groundbreaking ceremony, vowing to “renew” the area. In killing him, the wolves are merely exercising their territorial imperative. What is perhaps most interesting about “Wolfen” is that the story remains plausible, given its basic assumptions, of course. This is not sci-fi, fantasy or violent escapism. It’s a provoking speculation on the terms by which we share this earth with other creatures.
For rent on most VOD services for $3.99.
from Roger Ebert https://ift.tt/w5RynLJ
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