Scream n’ Stream 2016: Five Netflix Double-Features for Halloween

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Before we get started, I need to air a grievance: Netflix really dropped the ball on modern horror this year. While Amazon Prime was adding instant classics like The Witch and Bone Tomahawk (and other really good stuff like Afflicted, Spring and Open Grave), Netflix basically added a few old classics, dropped half of the best horror in its catalogue, and then called it a day. Sure, there have been a couple bright spots in between (see: The Hallow, Hush, The Invitation), but it’s been a pretty disappointing year in blood spatter for the world’s most accessible and oft-used streaming service.

If you need further proof (as well as more recs beyond the 10 or so on this list) check out last year’s Scream n’ Stream post: 12 of those 22 flicks are gone. The good news is that Amazon Prime has been picking up a lot of the great stuff that Netflix dumped. If you are fortunate enough to have access to the Big 4 streaming services (including HBOGo and Hulu), check out this fantastic Halloween streaming calendar a blogger on Reddit put together.

All said, the pickins were slim this year when it came to Netflix. Especially as I didn’t want to include fare that everyone has already seen (see: The Babadook, Jaws, Children of the Corn, Hellraiserwhich are all on there). Don’t worry though, I scowered the bowels and came up with a handful of thematically connected back-to-back features that should easily cover you this Halloween weekend.

So without further adieu, here’s this year’s witches brew…

Charlie’s Demons (Charlie Brooker horror)
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For fans of Black Mirror, Charlie Brooker’s Dead Set is a stellar addition to the Netflix canon. It has all the wry, fatalistic wit and undertones of the hit series, but caters more directly to a horror audience. It’s also a great chance to see Brooker’s hellbent mind working in its primal infancy, shortly before Black Mirror made him a Lovecraft-level household name. I think the closest comparison here would be Zack Snyder’s fantastic Dawn of the Dead remake, as Dead Set revels in both the bloodlust of vicious, capable zombies while at the same time staying fiendishly tongue-in-cheek. It’s also a fun look at the early careers of future crime-series faces like Riz Ahmed (The Night Of), Warren Brown (Luther) and Andy Nyman (Peaky Blinders). Beyond that it’s just two and a half hours of viscerally engaging zombie goodness.

While I can’t say Playtest is my favorite episode from Black Mirror Season 3, it’s definitely not the worst. And in my humble opinion, an average episode of BM is better than a great episode of just about anything else on TV. Add the fact that it’s one of the few episodes in which BM ventures into the terrain of horror (the show is often horrific and bleak, but soul-crushing depression does not exactly a horror show make), and I’m even more hooked. This one features an American bro backpacking through Europe, only to meet a hot gamer chick on one of his last days in the UK. Strapped for cash, she directs him to a temp job that offers big cash to test a new VR videogame. A drive to an eerie mansion in the woods takes our man to a gaming experience borne straight out of hell. I will say that the lead is extremely fucking annoying, but some superb CGI and one mind-bending skullfuck of a narrative make this some damn good Halloween viewing. Playtest is also probably the greatest cinematic reminder ever of why sometimes you should just pick up the phone and call mom.

Dead Set
IMDb: 7.8
GRADE: B+

Playtest
IMDb: 8.4
GRADE: B+

Presence in the Precinct House
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Channeling the cult-classic Session 9, Last Shift brings us into the world of Jessica (Juliana Harkavy), a cop working her first shift. Of course she just happens to look like the half-sister of Jessica Alba and Hope Solo. Of course the shift is run alone. At night. In a precinct house that’s haunted by the spirit of a mass murder clan! Last Shift is one of those low-budget, sleeper Netflix horror titles that more than does the trick in terms of delivering continuous suspense and some good visual and psychological thrills. In fact, I’d go so far as to place it in the top ten horror movies of 2015. As a horror buff who is typically bored by paranormal films, this one easily kept my attention throughout. An impressive flick from up-and-coming horror director Anthony DiBlasi.

I’ll be frank: Baskinwhich pits a group of Turkish cops against a netherworld of nightmarish evil in an abandoned precinct househas very little in the way of a linear narrative or plot resolution. Trying to make sense of this movie is an exercise in futility, because the movie itself seems to have no interest in logic. All that said, the nightmarish visuals, incredible makeup and creative mindfuckery put this one in an otherworldly dream realm from hellkind of like Hellraiser. This is the kind of horror flick I’d recommend if you either, a.) smoke the ganj, or b.) are stuck indoors this Halloween with a delirious headcold and are ingesting large amounts of cough syrup. It’s just a very strange movie with very strange visuals, and if you attempt to experience it more as a ride than as a plot-driven piece, there’s a lot of fun to be had here.

Last Shift
GRADE: B / B+
IMDb: 5.7

Baskin
GRADE: B-
IMDb: 5.7

Damsels in Digital Distress
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I know “found footage” is a pretty damn taboo subject among some horror fans, but between V/H/S/2, Afflicted, The Taking of Deborah Logan and a few others, I’ve been warming up to it over the past few years. The Den’s spin on the subgenre comes in the form of a webcam junkie (Melanie Papalia) who’s just received a university grant to do a study on a Facebook-meets-Skype web-chatting site called The Den (sorry, I’m too much of a luddite for a more specific comparison).

Her interactions with random strangers start innocently enough. Sure, there’s some pervs swinging their dicks around on the live site, but she also has some “meaningful interactions.” As she builds her data pool, an anonymous user starts sharing snuff films with her and hacking into her account. From here, her virtual reality and personal life merge as a living hell. There’s some corny acting and the typical horror cliche of inept authorities, but overall The Den brings a refreshing twist to the found-footage wave. And unlike many films in the subgenre and their supernaturally enigmatic endings, here we get some brutally chilling resolution.

Am I reaching to include Hush in a cyber-horror theme? Maybe. But a lot of this moviebased on a deaf woman dealing with a home invasion out in the woodsdeals with our heroine doing everything she can to save herself via the powers of the iPhone. It’s also one of the best new horror movies Netflix added this year. It’s also a solid slasher flick in a genre that has seen a steep fall-off in production, what with every horror movie these days about a talking doll or haunted house. Netflix horror regulars will likely have seen this. The rest of the world probably hasn’ta good enough reason for me to queue it up when folks are over this All Hallow’s Eve.

Sidenote: If you’re digging this cyber vibe, check out Black Mirror’s Shut Up and Dance—not horror, but arguably the best episode of Season 3.

The Den
GRADE: B / B+
IMDb: 6.1

Hush
GRADE: B / B+
IMDb: 6.6

50 Shades of Gangrene (Irish horror)
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When I put together a list of some of best lesser-known modern horror flicks on Netflix, The Canal was my glaring omission. Perhaps I held off on watching it due to the corny cover art on Netflix that makes it look like a generic, direct-to-DVD snoozefest. In fact, this film is so good that I’m doubling back on my claim that The Babadook was the best horror film of 2014 (granted, it was a pretty shitty year for horror).

So what’s the deal with The Canal? Premise: An Irish film archivist moves his wife and son into a creepy old house located on a… canal, of all things. With a heavy tip o’ the cap to The Shining, our man starts losing his mind a wee bit, especially when he finds some films at work that reveal his house to be the scene of a century-old murder wherein a man killed his wife and kids.

This familiar narrative just described is pretty much where The Canal stops adhering to any genre conventions. I’ve stated on this blog that haunting movies generally don’t do the trick for me (just leave the fucking house, already!). But this one is more refreshing and palpable, if only because the majority of the film doesn’t take place in the house, and we don’t have to wade through an hour of creaking doors and power outages to get to the real meat. Moreover, The Canal operates on a heady, multilayered plain of psychological dementia that enters into a possessed mind in one of the most convincingand therefore terrifyingways I’ve encountered. Trippy, manic and skillfully crafted, the lack of recognition for director Ivan Kavanagh’s indie masterpiece is criminal. Queue it up without further delay.

As for The Hallow, it embraces traditional Irish folklore of banshees, faeries and evil bog creatures in what amounts to another surprisingly good slept-on, b-horror effort out of the Emerald Isle. Premise: An environmental conservationist moves his wife and newborn into a dusty, old brick mansion in the middle of the woods. Locals eye the newcomer with suspicion, warning him of ominous forces about the titular “hallow,” which he of course pays no heed to. One of the film’s strongest assets is how its cinematography plays off of the haunting Irish countryside, creating for an atmosphere of eerie, mystical gloom. There’s also some very strong acting, and not just via protagonist Joseph Mawle (whose lupine eyebrows alone may have you wetting your knickers). With a cast including Michael McElhatton (AKA Roose Bolton from Game of Thrones) and Michael Smiley (Kill List, Black Mirror, A Field in England) such catchphrases as, “This isn’t Londonthings here go bump in the night,” take on an air of menace that are as chilling as a midnight wade through a murky bog.

The Canal
GRADE: B+ / A-
IMDb: 5.9

The Hallow
GRADE: B
IMDb: 5.7

Don’t Drink the Kool-Aid!
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Q: You know why no one ever makes Jonestown jokes?
A: The punch lines are too long…

OK, OK. Let me tell you why you should watch The Sacrament, a very thinly veiled “found-footage” recount of that time the homicidal megalomaniac zealot and pederast Jim Jones ritualistically killed off 900-plus people in a South American jungle. For starters, it’s directed by another cultish icon, the hallowed hipster-horror hero Ti West (The House of the Devil, V/H/S). Whether writing, directing or acting, Ti West has been involved in some of the past decade’s better horror showings (see also You’re Next) along with his plaid-clad homies Joe Swanberg, Simon Barrett and Adam Wingard. The Sacrament pits Swanberg as a Vice-esque journalist flying into an unknown jungle to research an ominous folk hero called Father (played by the great Gene Jonesno relation). From there, ominous undertones lead to all hell breaking loose in a suspense-packed 99 minutes of thrilling, if inherently predictable, damn-good horror.

I don’t really like to give away the genre of The Invitation, but seeing as this is a horror post I should let you know what this film is more “slow-burn suspense with deadly consequences” than it is all-out horror. However one would classify it, this take on the oft-visited “dinner party from hell” horror trope excels due to an expertly calculated level of psychological tension that courses through the entire otherwise-slow first hour of the film. I’m not going to outline the premise because, frankly, it would just take away from your viewing experience. Just know that it pairs well with The Sacrament.

The Sacrament
GRADE: B+ / B
IMDb: 6.1

The Invitation
GRADE: B+
IMDb: 6.7

-Sam Adams

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The Exorcist on Netflix Instant: Rewatching the Best Horror Movie of All Time

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BY ADAM FOX

1973’s The Exorcist is the furthest thing from underrated when it comes to the scary-flick canon. Every new release that’s even slightly in contention for “best horror film of the year” is inevitably compared to William Friedkin’s masterful tale of demonic dread. Trailers like to flash ballsy quotes in an effort to earn your hard-earned cash like, “Scarier than The Exorcist!” (this is always bullshit) and “The best horror movie since The Exorcist” (this is usually bullshit).

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Not a bad remake at all, but yeah… bullshit!

I don’t mean to come across as some disgruntled and jaded codger when it comes to the genre. After all, horror film (and my fascination with all things macabre) have stood as the cover photos in my catalog of interests for as long as I can remember. It’s not that I even think that The Exorcist is such an untouchable feat in filmmaking that no director from our generation should  bother to recapture its magic.

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Adam Fox: resident disgruntled and jaded codger.

The main problem lies in the fact that movie studios have taken a liking to financing projects that skip through the boring stuff (character development and solid individual acting performances) and jump straight to the good stuff (computer-generated ghosts, jump scares, excessive gore). The issue is that my idea of what constitutes as “good” and “boring” are viewed inversely by Hollywood, and as a result, I’m left feeling incredibly underwhelmed when I trek to a theater to catch the latest spooky offering.

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“They sure don’t make ’em like they used to…”

…And I don’t really know what the hell the reason for this phenomenon is, either. Do studios think that horror movies are attended exclusively by teens who lack the attention span to make it through a healthy dose of backstory prior to seat-jumping? Is it strictly a budgetary thing? Has the genre evolved so dramatically throughout the years to the point where a horror film can’t just be a great stand-alone movie anymore?

clint eastwood gran torino angry old man

“You draft-dodgin’ sons of bitches wouldn’t know a good horror movie if you were sittin’ in the theater and it gave you a reacharound!”

The reason The Exorcist is so brilliant has actually very little to do with little Regan’s entanglement with the demon Pazuzu and more to do with how the movie unfolds. The message conveyed throughout that the presence of disharmony (or evil) brings out the worst in humankind is far from subtle, but far more clever than a film like The Babadooks metaphorical head-beating.

And even the uninitiated know that no ghost, demon or monster has anything over a human being and their capacity to inflict pain on one another. It doesn’t even take stomaching the latest ISIS video leaked on the Internet to realize that humans are responsible for a metric ton of horrifying, fucked up things. This is where a handful of horror films really hit a home run and where so many others fail; when the novelty of seeing a terrifying monster in the bathroom mirror wears off, you’re left looking at your own reflection staring back at you.

The Exorcist also straddles that fine line between reality and fantasy so expertly that it evokes the most terrifying two words imaginable after watching a horror film – “It’s possible.” Perhaps it was years spent in the American Southwest that made me particularly vulnerable to Catholic mumbo-jumbo, but there’s a reason why the topic of exorcism is such a meat-and-potatoes staple for horror films. After all, The Exorcist was based on the 1949 real-life exorcism of Roland Doe which has long since been the Roman Catholic Church’s Rule 1…

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First rule of exorcisms: You do not talk about exorcisms.

Exorcisms are grounded enough in reality that, combined with Catholicism’s constant fixation on sadness, despair and good old-fashioned title fights of good versus evil, they create for some plausibly terrifying results on a big screen.

The Exorcist also succeeds at being a solid movie against the backdrop of a ghost story, without being “just” a ghost story. The moral dilemmas of Father Damien Karras (Jason Miller) are vast as he struggles with pledging fealty to the Catholic Church and his guilt in committing his elderly mother to a mental institution. We easily recall the memorable scenes like the head-spinning, the pea soup and the spider-walk, but the story was ever only really about an embattled Jesuit priest in over his head who commits one final, selfless act to save a little girl. It’s nothing especially heady, but it certainly rises above the ranks of its colleagues whose characters show up to shuttered houses to, you know, find out why doors are closing and the furniture is moving.
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I feel like I’ve created an unintentional ranking system whenever I watch a horror movie that scales from “one” to “Exorcist,” with most modern horror releases failing to reach even a five. I’d like to think of this less as elitism and more as being so affected by the film the first time I watched it that I now have impossibly high hopes for the genre, knowing full well what it’s capable of. The Exorcist is far from perfect and even starts to show its age a little these days, but it will forever remain king of the genre until someone successfully unseats it from a four decades-long reign. You come at Linda Blair, you best not miss.

GRADE: A
IMDb: 8.0

NOTE: Creator of this blog Sam Adams does not endorse Adam Fox’s assertion that The Exorcist is the greatest horror film of all time. Mr. Adams does, however, endorse Mr. Fox.

Reanimating Kevin Smith: Tusk furthers a new wave of bizarre, innovative horror

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I am not a Kevin Smith fan. Around the age of 11, I thought Clerks, Mallrats and Chasing Amy were among the funniest films in the world. Shortly after, my testicles dropped. Along with them, the geeky, pothead sex humor that was Smith’s schtick also dropped from my perception of what constituted a watchable movie.

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This was hilarious… back when the word “poop” made me giggle

To this day I cannot watch those movies without grimacing, and Jay and Silent Bob Strike Back and Dogma only made a tired, pre-pubescent joke worse. Like many folks, I then completely gave up on Smith. That is, until Red State—his self-distirbuted horror / shoot ’em up tale inspired by the evils of the Westboro Baptist Churchcame along.

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John Goodman has some great lines in Red State.

It’s hard to write anything about Smith without bringing up the idea of maturity (or lack thereof). I mention this because while Smith hasn’t exactly reinvented himself through Red State (2011) and Tusk (2014)—his signature campy, dick-joke humor runs rampant throughout both—he has brought some fresh ideas to the horror genre at a time when every other movie is either an Exorcist rehashing or a remake.

Is this innovation a sign of maturity? Maybe, maybe not. But both films are undeniable measures of progress for a director whose dog and pony show had all but bit the dust.

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Kevin Smith reveals how he got famous…

It’s also worth mentioning that these movies come at a time when Smith is making a major career turn in the direction of horror (Tusk is the first in his slated Great White North trilogy; I can’t wait for 2016’s Moose Jaws). So here’s my two cents on Tusk, which I recommend to anyone who has ever been a fan of the director, or simply to fans of campy horror who may have been just as turned off by him in the past as I was.

Tusk (on DVD)
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Tusk is a very odd movie, so I’ll give it an odd comparison: It’s essentially one part Wes Anderson’s The Life Aquatic with Steve Zissou and two parts The Human Centipede. Unfortunately, I can’t get too far into the particulars of this description. Even though the underlying premise is hinted at largely both in the title and in the film’s trailer, its climax relies on an underlying conceit that makes it of the “just go in blind and watch it” variety.

Here’s what I can tell you in order to see if this is your cup of tea:

Tusk introduces us to podcaster Wallace Bryton (Justin Long, in his most memorable performance since Drag Me to Hell). Wallace runs a show called “The Not-See Party” along with his bud Teddy (Haley-Joel Osment, 15 years removed from The Sixth Sense and looking like a plump, diminutive Hobbit extra).

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Insert “I see dead people” pun here…

Wallace and Ted capitalize on the shame and misfortune of others. They’re exactly the kind of opportunistic media savages whom Joel Murray’s character Frank would have mowed down with an assault rifle in the brilliant black comedy God Bless America.

When the duo see a viral video of a dullard who mistakenly chopped off his leg with a samurai sword, Wallace travels to Canada, looking for a great freakshow interview. But things don’t quite pan out.

Stranded in Winnipeg, he’s about to call it quits and come home empty handed when he sees an ad in a bar bathroom that reads like a dinner invitation from The Most Interesting Man in the World.

He drives into the icy depths of Manitoba and eventually arrives at the house of the mysterious Howard Howe (Michael Parks, easily recognizable from a slew of Tarantino flicks). Shortly after, things go completely apeshit.

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“I don’t usually star in Kevin Smith movies, but when I do, they’re surprisingly good.”

I know that I deviate from popular critical sentiment when I say that I thoroughly enjoyed the shit out of Tusk. And to Smith’s credit, I’m pretty sure I enjoyed it for all the same reasons that he had a blast making it, and for all the same reasons he knew a small niche of viewers would love it. As Smith said in an interview, “I just wanted to showcase Michael Parks in a fucked up story, where he could recite some Lewis Carroll and The Rime of the Ancient Mariner to some poor motherfucker.”

That synopsis underlines the central gem in an imperfect film that is comprised of several great pieces, as well as a few scenes and ideas that would have been much better off left on the cutting-room floor. (Or simply written and directed by someone less self-indulgent than Smith.)

Michael Parks is phenomenal as Howe, the psychopathic wheelchair philosopher. A long scene in which Howe regales Wallace with stories of drinking with Hemingway in Normandy is easily the best sequence of dialogue Smith has ever written. Wallace’s every word is that of a noble, worldly seaman—if only that seaman were the lovechild of Hannibal Lecter and Dr. Moreau.

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The 1996 remake of The Island of Dr. Moreau, which posed the weighty, primordial question, “What the fuck was Marlon Brando thinking?”

Furthermore, Kevin Smith writes a character in Howard Howe that is completely fleshed out. Even the greatest horror films too often leave us with questions as to who the villain really was, and from whence his darkest motives were borne. (In the case of Texas Chainsaw and Halloween, perhaps this was so we could get hit over the head with a never-ending shower of sequels). But in Tusk, everything is laid on the tableand the story of our villain is brilliantly constructed with thoughtfully researched and historically creative flair.

Michale Parks in Kevin Smith's Tusk

“I Think the real savage animals are the humans.”

Other strong points in Tusk include special effects makeup that is both hilarious and also some of the most wonderfully gruesome creature-feature imagery since Slither. And Justin Long’s performance proves that after Drag Me to Hell and Jeepers Creepers, this guy was put on Earth to do one thing: play a hyperbolically snide, scared-shitless version of himself in horror movies.

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Dear Justin Long: You will always be Darry from Jeepers Creepers.

As for drawbacks from this otherwise refreshingly innovative horror-comedy, Kevin Smith just kind of overdid it with his Kevin Smith-ness. There’s a 13-minute-long scene in which an A-lister makes a cameo as a stereotypically Canadian murder detective that adds absolutely nothing to the film other than the information that Kevin Smith is still able to hook an A-lister.

Not only is this character unnecessary, but his caricature-esque persona brings a level of over-the-top absurdity to the film that is too goofy even for Smith’s batshit premise. Another drawback would be that there’s a bunch of dick jokes and geeky humor that will most likely appeal to no one but diehard Kevin Smith fans.

All said, however, when you weigh the bilge versus the really great bits (the acting, Parks’ brilliant dialogue, a fresh horror story and great special effects), Tusk emerges as one of 2014’s best horror flicks.

Oh, and the usage of Fleetwood Mac’s “Tusk” in a climactic scene? Brilliant.

GRADE: B+
IMDb: 5.6

-Sam Adams

The best of Netflix Instant if bleak, thrilling cinema is your ASMR: Part III

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For many Americans, 24-hour marathons of It’s a Wonderful Life and A Christmas Story are the holiest of holiday traditions. That’s all fine and good, but some of us are more partial to the non-stop gore fests that populate channels like AMC and FX in the days leading up to Halloween. It’s a perfect time to kick back on the couch, inhale candy corn, and get bleary-eyed on pumpkin beer as you reacquaint yourself with the innumerable Michael Myers sequels and offshoots.

Alas, my days of paying for cable have ceased. And honestly, there are much better things to watch out there than the Busta-Rhymes-Tyra-Banks vehicle Halloween: Resurrection. Freddy Krueger brought nightmares to life. Halloween: Resurrection was a fucking nightmare in my life.

I got my fix this Halloween through some great Netflix Instant titles. And through this service, the soul-crushing depression that sets in when the 24-hour horror bloodbaths end on Nov. 1 can easily be bypassed.

Whether you be a fan of slashers or ghouls, there’s a bevy of great options to stream via Netflix. Here are a few recent personal favorites.

You’re Next

You're next

Requisite bloody-faced protagonist shot

For fans of modern horror, calling You’re Next a hidden gem is tantamount to saying, “They made a Texas Chainsaw movie before the Jessica Biel one?” If you’ve seen it, go ahead and skip to the next title (which you probably haven’t seen). However, if you haven’t seen this—or are just a fan of my wayward rants—keep reading, and consider it one of the top slasher films of the past decade, as well as a must-see for anyone with any interest in the genre.

You’re Next is a good, old-fashioned home-invasion gore fest. “Old-fashioned” is key here, because the film pays homage to a lot of ’80s and ’90s tropes (and yeah, that was a long fucking time ago in my book). The brilliant opening sequence starts in typical Scream fashion. A really hot chick (the underused Kate Lynn Sheil from House of Cards) and her scumbag boyfriend have a knifey, little run in with a masked man.

Kate Lyn Sheil

Kate Lyn Sheil, aka the indie fanboy’s new Zooey Deschanel

But before we get to the meat of the plot, something more needs to be said about this opening sequence. In particular, that Dwight Twilley song. My last post in this series included Blue Ruin, a film that paired a song and a scene in a way that I’d call among the year’s best audiovisual sequences.

Likewise, that opening sequence of You’re Next pulls an obscure pop hit and transforms it into one of the most tantalizing aspects of a great narrative. The song in question is Dwight Twilley’s “Looking for the Magic.” No, I had no idea who Dwight Twilley was before this movie. Yes, I’ve been getting weird looks the past few months while driving around town with this song playing on repeat. It’s infectious. It’s haunting. It’s usage embodies the mystique and grim humor that make You’re Next  a brilliantly chilling and morbidly comic slasher flick.

If you geek out on “The Magic,” check out this article about its origins in the film. I love the part where Twilley’s wife tells the director, “You want ‘Looking for the Magic,’ but you can’t afford the fuckin’ magic!”

It’s also priceless that the album it came off of was called Twilley Don’t Mind. If I recorded a coked-up, Donovan-meets-classic-pop-rock album it would certainly be called Adams Don’t Mind. Anyway, here’s an old recording of Jim Morrison lookalike Dwight Twilley (and yes, that’s a young Tom Petty rocking out on backup guitar).

But back to the murder at hand. A rich kid and his Aussie girlfriend (Sharni Vinson) road trip to spend a weekend with his family at their secluded mansion in the woods. It turns out that the beau’s family are a bunch of psychotic WASPs who generally hate each other. Then there’s a bloodbath wreaked by killers in cute animal masks.

Watching uppity WASPs get axed to bits by cutesy lamb-masked villains is holiday fun for the whole family—and the type you won’t find in It’s a Wonderful Life. Speaking of Jimmy Stewart, they should do a You’re Next-style remake of Harvey where the imaginary friend is a bunny who fucks shit up. Oh yeah, Donnie Darko…

Coming soon to a theater near you...

Coming soon to a theater near you…

We find out that the Aussie protagonist (and only likable person in the movie—outside of Kate Lyn Sheil, of course, who can do no wrong), also has a background as an Outback survivalist. This comes in handy.

You’re Next‘s only fault is that it enlists some noted mumblecore directors as actors. What is mumblecore, you ask? Unfortunately, it’s not the drunken cousin of a Harry Potter wizard. In my limited research, it seems to be a cinematic platform for hipsters to wallow in their hipsterishly hipster despair (see: previous scathing rant on Drinking Buddies, et al). Put bluntly, it’s one of the worst things since Cinema Verité and the French New Wave movement. As the great Werner Herzog put it, “By dint of declaration, the so-called Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants.” In the same vein, mumblecore reaches a merely superficial truth—the truth that self-important, coffee shop filmmakers project as the truth.

Anyway, perhaps this isn’t much of a fault, because we get to see said mumblecore whiners brutally massacred. When the masks are off and the final axe is swung,You’re Next is a movie about a lot more than Dwight Twilley’s career revival and killing the shit out of hipsters and WASPs. But those reasons alone are good enough for me.

GRADE: B+ / A-
IMDb: 6.5

The Taking of Deborah Logan
Full disclosure: Despite my love of horror films, I tend to steer clear of anything involving ghosts, exorcisms or paranormal activities. The reason being that these tales involve a suspension of disbelief tied to the plausibility of a supernatural realm. I do not believe in that realm. So asking me to sit through such a flick is kind of like taking an atheist to mass. Sure, the message will be conveyed loud and clear, but an inherent disbelief in the underpinnings of such a message will make every word ring hollow.

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An army of blind, albino cave-dwelling evolutionary anomalies? Plausible. Ghosts? Not so much.

Point being, it takes a lot to get me interested in any of the 5,000 Exorcist rehashings that Hollywood spews forth every year. So essentially, me telling horror fans that they have to watch The Taking of Deborah Logan is like our atheist friend saying to his atheist bros, “You gotta check out that mass—it was unbelievable!”

The film begins with a camera crew attempting to document the mental decline of an Alzheimer’s patient. As the patient weakens, eerie shit starts happening. As we all know, demons from the depths of hell are prone to preying on the weak and old, so it’s only natural that they’d possess our titular character.

the taking of deborah logan

“Mr. DeMille, I’m ready for my closeup.”

The Taking relies heavily on the found-footage / hidden camera blueprint of Blair Witch and Paranormal Activity. I’d argue that it supersedes both of these. For one, unlike Blair Witch, this film actually has an ending. It also has camerawork not done by someone with a bad case of the DTs. Furthermore, there’s a palatable depth to this story, thanks to some fine acting by Jill Larson and Anne Ramsay as the mother and daughter caught between a fatal disease and another form of hell on Earth.

And even for someone who’s all but sworn off supernatural flicks, this movie is downright, jump-out-your-seat scary as hell. In terms of this genre, I’d rank The Taking right alongside James Wan’s more mature efforts, like The Conjuring and Insidious (no, not Insidious: Chapter 2—that sucked. Bring me Insidious 3 and the return of the Darth Maul demon!).

insidious

The way Tiny Tim’s “Tiptoe Through the Tulips” shall be remembered henceforth

Jill Larson’s transformation from Miss Daisy to a vessel of the eternally damned is pulled off with a subtly mounting air of terror, climaxing in a terrifying finish that includes one of the most magnificently unsettling images in recent cinema. This is probably one of the most underrated new titles on Netflix Instant. Don’t sleep on it, and once you’ve seen it, don’t expect any decent form of sleep.

GRADE: B+ / A-
IMDb: 6.5

Other must-watch BONUS PICKS to keep the Netflix Instant horror marathon raging: Stake Land, Trollhunter, Let The Right One In

Note on IMDb scores: For whatever reason, horror films typically rank much lower on IMDb than their equally good, non-horror counterparts. Consider anything above a 6.2 probably worth your time. (I’ll unveil my foolproof “IMDb credibility system” at a later date.)

-Sam Adams