by Eden
The glamourous Elaine has decided the best way to go about it is to shape herself into “just a pretty woman to love” – in other words, the perfect male fantasy. Her preoccupation has little to do with what she wants and rather what she believes men want. So of course, Elaine turns to witchcraft to accomplish this. And of course, it does not go at all according to her plan. There will be more bad ends to follow.
To be quite honest about it, Tara Subkoff’s #Horror is a mess. I love that it’s a movie dominated by women, from the director, most of the creative team and the vast majority of the cast, but it’s mostly atmosphere hung around the thinnest of plots (which, upon reflection, doesn’t make too much sense) and characters who are barely there. But there’s something compelling about Subkoff’s vision and take on this material that transforms it into something beautiful and frantic.
John Fawcett’s Ginger Snaps is not the first to make the connection between menstruation and lycanthropy (and I doubt it will be the last), but along with screenwriter Karen Lee Hall, it offers a darkly funny, scary and touching metaphor for the changes girls face during adolescence.
Unlike a lot of “found footage” horror, Ghostwatch actually aired “live” on Halloween night, 1992 (it was taped weeks earlier). While it was an episode of the drama anthology series Screen One and aired in its usual timeslot, beyond some brief credits, there was little to indicate that this was anything other than the live special it was purporting to be.
For the first half-hour of The Falling, we’re in what feels like a quiet English drama about a girls’ school in the late 1960s. But after the beautiful popular Abbie (Florence Pugh) dies and her best friend Lydia (Maisie Williams) and other girls begin fainting without cause, it becomes something much stranger and darker. Writer/director Carol Morley’s film is a moody exploration of every-day horrors through the eyes of girls and women.