Summer is about being in the pool, going to the drive in, and blowing up fireworks. All of those things are inherently cheerful and uplifting, so who would want to wrap up a pleasant summer evening with a horror movie? Apparently a lot of people. Horror fans do just enjoy horror movies in the Fall. They want to enjoy their genre year round and I can’t say I blame them. If the “Thriller” genre was boxed to the three months of September, October and November, I would be bummed. In an effort to show you just how normal it is too have quality horror movies released outside of Fall, our contributors have gathered some excellent scares that will bump in the night regardless of the month. So turn off your lights, light a candle, and watch one these Scary Stories to Tell in the Dark.
After Ari Aster made his feature directorial debut last summer with Hereditary, he came back last month to give us more scares with his second feature, Midsommar, a frightening, hallucinatory experience that brings us on a journey of American tourists who visit a commune in Sweden, only to discover that their plans will soon be derailed by those of the natives. Midsommar has everything that made Hereditary so memorable: an emotional, shattering lead performance; a disturbing story; creative camerawork; stunning production designs; and endless tension. I was hoping that Aster would be able to deliver another mesmerizing horror film in the wake of Hereditary, and he succeeds. At this point, any new movie from Aster should be considered an event for the horror genre, and whatever his next movie may be, there isn’t any doubt that we’ll be witnesses to another example of his uncompromising vision. Midsommar isn’t just the best horror movie of the year, but it’s one of the year’s best. (Vincent Abbatecola)
In 1977, Dario Argento arguably created his most brilliant and influential piece of work entitled, Suspiria. It was a slight departure from his area of expertise and he veered away a bit from his Giallo (Italian Horror) roots. He instead decided to make a dark fairytale lit in beautiful and blinding neon lighting that burns into the retinas of the viewer. The film is both whimsical and off putting all at the same time with beautifully executed death scenes. The story primarily takes place in a prestigious dance academy in Germany where a young American woman is about to step into the world of the macabre. While the film is dubbed and can come off as comical with its voiceover work, the aspects that really shine, shine oh so brightly. The cinematography is expertly done with glaring fluorescent lighting in addition to the excellent framing of every shot. The visuals are perfectly accompanied by a fittingly jarring score by Italian Progressive Rock Group, Goblin. This film boasts some extremely elaborate kills, especially one in particular at the beginning that will put the viewers jaw on the floor with its complexity. Any true Horror aficionado should view this masterpiece at least once. (Joseph Vargas)
Oh hidy-ho officer, we’ve had a doozy of a day. There we were minding our own business, just doing chores around the house, when kids started killing themselves all over my property. Tucker and Dale vs Evil is for a very good reason not released in typical horror season, because it is just as much, if not more, of a comedy as it is a horror movie. As someone who generally doesn’t like horror movies, both for personal taste as well as quality of film, these types of movies are usually never up my alley, but a recommend from a friend put this movie in my sight and I have revisited on several occasions, with each viewing becoming more memorable. The story revolves around two hillbillies who are just trying to enjoy a weekend and some college kids come around the same area of the woods. Through an awkward encounter and a good heart, Tucker and Dale take in one of the kids who is knocked out. The other students have a different perception and they think she was kidnapped and that Tucker and Dale are evil, so they try to attack and kill them, but for hilarious reasons, it doesn’t ever seem to work out! But this movie is more than dumb comedy. It’s actually really creative, too smart for what the premise promises (and I mean that in a good way), is a boatload of fun, and has really good messages about perception, reaction, and obsession. No matter what your taste in movies (unless it’s high class English Patientstuff), I think there is a little something for anyone to enjoy this movie. (Aaron Schweitzer)
Do you know what is so great about the concept for The Evil Dead? It doesn’t have to be Halloween time to go out into the middle of really creepy woods and resurrect evil demons to reap havoc on the world! This low budgeted horror film launched the careers of Sam Raimi and Bruce Campbell (and even The Coen Brothers). Bruce Campbell’s Ash has since become a cult icon as he has starred in The Evil Dead franchise for decades spouting out so many memorable lines. Raimi created a creepy aesthetic with a variety of camera tricks including strapping a camera on a long piece of wood and running it through the woods (the technique that created the iconic shots of the encroaching evil). Raimi has since then made a career making pulpy films with his unique style. Is it horrifying? Is it hilarious? Which were supposed to be done on purpose? In hindsight, Raimi has created some of the greatest horror-comedies of all time and they all started with The Evil Dead. And that is what matters. But here is a friendly reminder, DON’T READ OR LISTEN TO OTHERS READING FROM EVIL BOOKS. All those demons will “swallow your soul”! (Shane Conto)
There are certain times in an adult male’s life where he goes “screw this!”. Hereditary was that movie for me. My entire life I’ve enjoyed good horror. Going back to my younger days when I would watch AMC’s Halloween countdown every year (big fan of Scream and Nightmare on Elm Street). I’m not one that gets scared easily—The Exorcist being the only film to scare me growing up—but as a 24 year old man when I saw this, I’ve never felt more like a hopeless child than I did while watching Hereditary. It’s haunting, creepy, heavy, tense, and doesn’t pull any punches. What Hereditary does that separates it from the rest is not let up on the pressure. Once this slow burn film starts rolling, the tension builds and builds and never lets you get a breath away from the tension. Hereditary also avoids cliche jump scares for a more brutal and uncomfortable approach of playing right into the horror and not letting the camera pan away from the graphic violence and horror of the situation. Please watch this movie to see just how horrific and brilliant Toni Collette’s performance is. It still boggles my mind how she didn’t get any Oscar love for this. (Ben Davis)
When someone looks at John Carpenter’s 1982 horror masterpiece The Thing, they must immediately think of winter. In fact, with all of the snow, darkness, and isolation present in the film, it is difficult to think of any time of the year except for the cold months. However, despite any feeling of chills, either from the icy setting or the nightmarish titular creature hunting down the film’s characters, The Thing was actually released on June 25, 1982. No matter what time of the year The Thing was released in, it is still an absolute iconic film of the horror genre. A diverse cast of characters (led by Kurt Russell in one of his more legendary roles), great cinematography, and ,arguably, the best practical effects of any horror film ever made creates a fusion of a whodunnit mystery with body-horror like no other film before it. Everything in The Thing feels deliberate, from the uniquely different performances of the characters, allowing any of them to be the real antagonist, to the artic setting not only playing a role in the film’s plot but allowing the viewer to truly feel isolated with the characters. The Thing is a timeless classic that proves that any remake can be a success and improve upon the material it’s based with the right creative mind behind it. (Dylon Turner)
We all know the tropes of the horror genre. The ones that make the audience’s eyes roll and jump purely out of visceral reaction, but not of fright. I’m talking about jump scares, sexed-up teens murdered in the dark and scary spirits conjured by clueless characters reading out loud what they shouldn’t. Cabin in the Woods takes all these tropes, and places them in a world of their own, literally. At first seeming like your typical horror story, it’s quickly revealed that all these elements we’re used to, are part of a larger conspiracy aimed at keeping destructive forces at bay. They’re literally a form of entertainment, with the characters playing the stereotypical personalities seen time and time again, before meeting an unseemly end. Going hard on the idea of the meta-story, it flips between the cabin in question, and the organisation charged with completing the tale and delivering their deaths. It is full of imagination, which isn’t surprising considering that it’s coming from the mind of Joss Whedon – storyteller extraordinaire. It’s hilarious, exciting and actually pretty scary at times. Whether you’re looking for a smart plot, interesting characters or a barrel of laughs – this is the movie for you. (Alice-Ginevra Micheli)
The fall has always been the ideal time for the horror genre. Halloween and horror go hand in hand to create to perfect atmosphere to be afraid. But who said you have to wait until Halloween to be unnerved beyond belief? The spring of 1980 showed this by offering audiences one of the most frightening and unnerving film experiences ever with The Shining. The best way to spend a May evening is to be stuck inside a spooky and “empty” hotel during a terrible snow storm. Jack Nicholson is unhinged in his portrayal of Jack Torrance as he chases his family and audience through the impossibly constructed Overlook Hotel with its nightmare inducing carpet and penchant for ghosts. Jack Nicholson shuffling around with an ax is scary but can never top the unnerving horrors of twin British girls telling us to come play. They will haunt your dreams through the spring, summer, and right into Halloween! (Shane Conto)
For something I was quite hesitant initially, Get Out is a superb first outing for Jordan Peele. Jordan Peele was mainly known for his comedic work with Keegan Michael-Key before the film’s production which made me intrigued, but nervous about the film. I was shocked and in awe of how great this is. Daniel Kaluuya delivers one of 2017’s best performances in this film as Chris. Peele is able to slip some comedy through the cracks in the film with Lil Rel Howery’s scenes with Chris to at least break up the massive tension of the film. For the horror elements, I would not really class it as a full out horror film, but rather social commentary film. The film is able to build that tension and anxiousness in the with Chris’s awkward encounters with Rose’s family. This movie does not rely on the jump scares like most commercial horror films, but rather building that nerve-wrecking atmosphere to make it really scary. The social commentary and themes of racism and how it’s perceived is deep and thought-provoking to the audience. It opens the audience’s eyes unlike a lot of films that aim for the message of racism perspective. For being the first film Peele has directed, it is certainly a special one. He may never top his first film, but he was won my interest for his future films. Fingers crossed he does not become Gen-Z’s M. Night Shyamalan. (Eric Moss)
The Silence of the Lambs is one of only three films to win Best Picture, Best Director, Best Screenplay, Best Actor, AND Best Actress at the Oscars. And let me tell you, it deserved every single statue. From the performances to the tension building editing to the masterful camera work, everything about this movie is breathtakingly well done. Jodie Foster and Anthony Hopkins are one of the most iconic duos in film history and the scenes where they go back and forth with one another are some of the most exhilarating in film history, despite being so heavily reliant on dialogue. The film has so much to say about women in male dominated fields and does so both explicitly in the dialogue but also subtly in the way Clarice is shot when surrounded by her male colleagues. It gets better with every rewatch and all of these little details become clearer and clearer. Even with just one watch, though, you know. The Silence of the Lambs is perfect. (Logan Van Winkle)