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Cosmic Horror Movie Is Still Thrilling 20 Years Later – Bloody Disgusting

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وقت القراءة المقدر: 19 دقيقة (دقائق)

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Cryptozoology is woefully underexplored in popular culture. Sure, we have a handful of entertaining bigfoot flicks and even Zak Penn and Werner Herzog’s experimental Incident at Loch Ness, but where’s our big budget Jersey Devil thrillers? Or how about some Chupacabra-related mysteries? Having grown up on a steady diet of late-night Discovery Channel and questionable internet forums, I’d argue that this popular pseudoscience is an untapped goldmine of compelling genre stories that deserve more attention.
Fortunately, my personal favorite of these preternatural beings was lucky enough to spawn a surprisingly successful motion picture in the form of Mark Pellington’s The Mothman Prophecies, a 2002 adaptation of John Keel’s homonymous book describing an allegedly true story from 1960s West Virginia. And with the flick celebrating two decades of conspiratorial frights, I think that this is the perfect time to look back on why it’s still the best cryptozoological thriller that flirts with both psychological drama and cosmic horror.
While Keel’s book was originally released back in 1975, the legend of the Mothman really achieved worldwide notoriety with the rise of online paranormal discussion boards in the 90s. With more and more people spreading and adding to the creature’s bizarre history, it was only a matter of time until a studio decided to invest in a spec script based on Keel’s original account, eventually leading to the production of Lakeshore Entertainment’s film.
Unfortunately, the studio was unsure about how general audiences might react to a high-concept cryptid mystery and ended up slashing the original budget just a few days before filming began. This unexpected act of cinematic sabotage came as a shock to Pellington, who had already dealt with similar issues on his previous picture, but these limitations may have led to storytelling concessions that ultimately benefited the picture. Without a massive special effects budget, the titular Mothman became more of a creepy presence than a physical monster, only appearing in near-subliminal visions as the finished film focused more on atmosphere and character work rather than the cryptozoological chills of the original book.
“Whatever brought you there, brought you there to die.”
In fact, the director purposely avoided a faithful adaptation of Keel’s account, wanting the film to feel more like a psychological drama instead of an investigative creature feature or traditional sci-fi flick. Ironically, this is more in line with the writer’s overall feelings about UFO phenomena in general, as, despite theorizing that the Mothman was an “ultraterrestrial” visitor, Keel thought that most supernatural incidents could be explained by psychic anomalies rather than otherworldly interference.
This more grounded approach led to quite a few discrepancies between the film and its source material, such as the altered visuals of the Mothman itself and the protagonist’s characterization as a skeptic rather than a paranormal investigator (not to mention the condensing of characters and events in order to better fit a two-hour drama). Despite this, the overall plot remains largely intact, with Richard Gere playing a grieving journalist named John Klein who mysteriously finds himself lost in the Appalachian city of Point Pleasant. He eventually discovers that locals have been dealing with a series of seemingly paranormal occurrences and becomes obsessed with the elusive Mothman, who he believes is involved with a series of prophetic messages warning of impending disasters.
While I would still love to see a more traditional monster flick that explores the bizarre accounts present in the original book, Pellington’s choice to explore the human side of the story makes The Mothman Prophecies a surprisingly somber and existential picture that characterizes the titular monster as an unexplainable force representing a universal fear of the unknown, taking the legend into a more metaphysical direction than most other interpretations.
From the Pazuzu-like flashes of the Mothman during pivotal scenes to subtle scares like Klein’s reflection not quite matching up with his movements, as well as characters being driven to madness and obsession after coming into contact with the red-eyed creature, there are several moments of the picture that would feel right at home in an H.P. Lovecraft yarn. The scenes featuring Indrid Cold’s fatal prophecies (brought to life by Pellington himself) are especially haunting, with these implied offscreen terrors becoming much scarier than any monstrous visuals that a special effects team could have cooked up.
“You’re more advanced than a cockroach, have you ever tried explaining yourself to one of them?”
Of course, it’s the emotional core of The Mothman Prophecies that really ties everything together. Pellington grounds these paranormal incidents in tangible emotions like grief, love and existential dread, leading to an eerily believable trek through deeply human fears. Gere is also phenomenal as our leading man, making it easy to root for our haunted protagonist. Honestly, I think it’s a shame that the actor hasn’t shown up in more horror movies, as he excels in this role as a rational man losing his wits once he’s confronted with the unknown.
The Mothman itself is only briefly featured in this subtly scary experience, but the creature’s presence is felt throughout every frame of the picture. It may not be the cryptid creature feature that some were hoping for, but I appreciate this unconventional retelling of a fascinating legend. The film is also responsible for popularizing the Mothman as a cultural icon, with Point Pleasant organizing an official Mothman Festival every year since 2002 as the mysterious winged monster became a staple of American folklore alongside figures like the Jackalope and Sasquatch.
While the film’s claims that it’s based on a true story should be taken with a sizable grain of salt, I think The Mothman Prophecies is still a surprisingly thrilling and highly atmospheric mystery twenty years later. It can get a little slow at times and might irk hardcore cryptozoology enthusiasts with its disregard for Keel’s (admittedly exaggerated) account, but I’d still recommend it to any fan of moody cosmic horror. It’s also the best media featuring West Virginia since John Denver’s Country Roads, and definitely my personal favorite Richard Gere flick.
Born Brazilian, raised Canadian, Luiz is a writer and Film student that spends most of his time watching movies and subsequently complaining about them.
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Babysitting is without a doubt the most hazardous after-school job in the world of young-adult horror. The caregivers in these books count themselves lucky if the biggest problem of the night is getting the kids to bed. Those less fortunate sitters have to deal with a variety of boogeymen. Although, not every waking second of these teens’ lives is a total nightmare; their own homes and schools are temporary safe havens. A. Bates, on the other hand, found a way to ensure one babysitter is in a constant state of terror. In the author’s 1991 novel Mother’s Helper, a 17-year-old accepts a well-paying but unusual job offer; she is hired to watch an infant full-time. The only catch is the nanny position requires staying on a small island, far away from home… and always close to danger.
Rebecca “Becky” Collier finds an excuse to leave Seattle for the summer after her boyfriend dumps her for her best friend. And with her going off to college soon, the prospective freshman needs to earn some fast money. So, when Mrs. Nelson provides a stone for two birds, Becky jumps on a plane to Sebastian Island. The gig itself — watching over a baby boy named Devon all summer — is easy enough, but after a while, Becky grows weary of Devon’s high-maintenance mother.
Mrs. Nelson is visibly uncomfortable around her own son, and she is reluctant to let Becky leave the house. Making things weirder is the reason why the Nelsons are in Sebastian in the first place. Someone has threatened Devon, and his parents — Devon’s father is away this whole time —  think keeping him here is the best option. As willing as Becky is to overlook all the red flags for an enticing lump sum of $5000, the growing isolation eats away at her. On top of that is the handsome yet suspicious townie and neighbor, Cleve Davidson, who keeps asking Becky so many prying questions.

Once she is allowed a night off, Becky’s mind starts to run wild. Along with the sheriff’s convenient accident, one that effectively leaves the town of South End without any law enforcement, Becky ponders Cleve’s innocence. His unremitting curiosity about Becky’s job and her “aunt” suggests he is not who he appears to be. Mrs. Nelson herself is equally shady, if not more so. She not only forbids Becky from answering the phone in her office when she is not home — a room Bates compares to the forbidden one in the French folktale “Bluebeard” — those daily work meetings of hers are nothing more than her sitting alone at the marina. For someone who claims to be in hiding, Mrs. Nelson sure is lousy at staying hidden.
From Becky feeling like a prisoner in the Nelsons’ summer house to her increasing anxiety about Devon’s stalker, Mother’s Helper is all about horrors from within. Becky suffers the effects of cabin fever early on; both her irritability and paranoia cause her to make rash decisions as the story progresses. Then, being aware of Devon’s predicament causes Becky to be mistrustful and nervous. The more enmeshed she is in the Nelsons’ problem, the more she internalizes their fears.
As for scares, Bates largely channels the psychological menace of classic “imperiled women” films as opposed to the teen slashers influencing other suspenseful YA novels from this same era. She plays on Becky’s dread with an incessantly ringing yet never answered telephone, and she perpetuates the sensation of being watched. At one point, the author terrorizes the protagonist with strategically placed dolls; some are broken and mutilated, whereas the most daunting of them all is left completely unharmed. An excellent line about this incident sums up Becky’s uneasy state of mind:
“This doll was perfect — no slashes, no broken, shattered head, no ripped limbs — and somehow it was even more frightening.
Almost like it’s a fill-in-the-blank threat, Becky thought. Fill it in with anything I can imagine.”
Family thrillers were on the rise in Hollywood when Mother’s Helper was first published. Sinister sitters, jilted paramours, and bad seeds were only some of the threats found in these now-dated narratives. Regardless of how they did it, the ostensible villains sought to destroy the family. This book predates the subgenre’s cinematic peak, which includes The Hand That Rocks the Cradle, Poison Ivy, and Mother’s Boys. Unlike those films, though, Bates’ story details the aftermath of a crime. Of course this facet is unrealized until the last act.

Mrs. Nelson eventually caves to Becky’s questioning and admits she is on the run from Franklin, her abusive husband. The women conceive a plan in anticipation of Franklin’s arrival; Becky hides the baby elsewhere while Mrs. Nelson distracts her husband. As to be expected, things do not go accordingly. This is due to the fact that Mrs. Nelson is lying about everything. Devon is not her child; he is the biological son of Franklin and his current wife. Becky’s client abducted the baby and then fled to this island, where she put everything, including the rental home and checking account, in the nanny’s name. And to ensure he would not alert the proper authorities, Mrs. Nelson injured the sheriff and let the town think Cleve was responsible.
Caroline B. Cooney exercised the “stolen baby” plot a year earlier in her Janie Johnson series, beginning with The Face on the Milk Carton. However, Mother’s Helper executes the idea much differently. The result comes as a greater shock for the target audience, seeing as the twist is delivered toward the end rather than at the beginning like in Cooney’s book. Younger readers identify with Becky, who like themselves, would never suspect a mother is lying about being a parent. The thriller plays with perception as well as the concept of who can be considered inherently trustworthy. Having Becky then become an accomplice to kidnapping, albeit without her knowledge or consent, is appalling.
Despite having been manipulated, lied to, and almost killed, Becky remains compassionate. She understands Mrs. Nelson needs a different type of help now. As she confronts the woman at the marina, Becky is sympathetic instead of angry. She ultimately lets Mrs. Nelson escape and tells her to “be safe.” Letting the antagonist, particularly someone who has a mental illness, live in these kinds of stories is both merciful and uncommon. It is also not the most logical or even the most lawful choice to make, but it suits Becky, a character whose fatal flaw is caring too much.
There was a time when the young-adult section of bookstores was overflowing with horror and suspense. These books were easily identified by their flashy fonts and garish cover art. This notable subgenre of YA fiction thrived in the ’80s, peaked in the ’90s, and then finally came to an end in the early ’00s. YA horror of this kind is indeed a thing of the past, but the stories live on at Buried in a Book. This recurring column reflects on the nostalgic novels still haunting readers decades later.

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 1,091 اجمالى المشاهدات,  3 اليوم

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‘American Horror Stories’: Ryan Murphy Unveils New Chapters Of Fear & Frights In ‘AHS’ Spinoff Teaser

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Ryan Murphy ushers in new chapters of the American Horror Story franchise in a teaser for the upcoming Hulu anthology series, American Horror Stories.

“Every episode brings you a different nightmare,” Murphy tweeted on Wednesday.

Murphy, who has been teasing American Horror Stories with posters on his social media accounts, dropped the teaser on Twitter. The brief snippet follows a rubber woman on a journey that revisits some of the most memorable locations in the AHS franchise.

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American Horror Stories is a weekly hourlong anthology series that will feature a different horror story in each contained episode. The spinoff will premiere exclusively on Hulu July 15. Earlier this month Murphy revealed that Kevin McHale, Dyllón Burnside, Charles Melton and Nico Greetham will star in the series.

During a panel for Ratched in August 2020, AHS and American Crime Story star Sarah Paulson said that she will direct some of the series.

The tenth installment of the flagship series, American Horror Story: Double Feature, will debut on FX Wednesday, August 25.

During the May Upfront presentations, FX Chairman John Landgraf said that American Horror Stories will commence in July and conclude on Halloween. The series is executive produced by Ryan Murphy, Brad Falchuk, Alexis Martin Woodall, John J. Gray and Manny Coto.

New horrors and fears await viewers in the American Horror Stories teaser – watch it below.

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‘Descent Into Darkness: My European Nightmare’ Is the Most Messed Up Found Footage Gem You’ve Never Seen

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وقت القراءة المقدر: 8 دقيقة (دقائق)

I’m always looking to be shocked. I want to be shaken to my core, changed by what I’m seeing, and unable to keep off my brain once the imagery has seeped inside. That’s what I look for in my horror films—and to be honest, it’s been a while since I’ve been surprised or even genuinely scared while immersing myself in the genre. And then along came Rafaël Cherkaski’s Descent Into Darkness: My European Nightmare, a found footage nightmare he wrote, directed, and starred in.
I first saw the movie during the 2020 virtual edition of Unnamed Footage Festival — an incredible festival I encourage you to check out — and was immediately intrigued by its sharp spiral into depraved territory. It’s a great feeling (you know, as a horror die-hard) when a story keeps you anticipating how gruesome and debased it might become. I couldn’t stop watching until I knew. The terrifying French film is, without question, a found footage masterpiece. But the fact remains that it is highly under-watched. Because of its lack of exposure, a lot of genre fans have yet to experience the horror of this film, and what it seeks to teach us. Something tells me it would be on a lot more “best of” lists and the subject of even more essays if they had. It’s the most messed up found footage gem you’ve never seen, so strap the hell in.
Descent Into Darkness: My European Nightmare follows a bright young man named Sorgoi Prakov, a journalist from a fictional Eastern European country who has just arrived in Paris to film a documentary about the “European dream.” You know, like the American dream. Same difference, basically. However, a series of bad decisions and unfortunate incidents set Prakov on a path of self-destruction, mayhem, destitution, and madness as his project is devastatingly thrown off the rails.
The 2013 horror story has a pretty simple premise, yet its specificity is what sets it apart from just being your typical documentary-gone-wrong. The very real spiral its main character is forced down by the also very real circumstances of the film is something a lot of people are a stone’s throw away from. The tendency to imagine yourself in the same position while watching makes things infinitely more terrifying. Add the kind heart and specifically generous spirit Prakov brings to the piece and it’s hard not to sympathize with the disturbing turn of events he deals with.
The film is a cautionary tale that presents us with several lessons we can’t help but learn, mainly because the end is so brutal that no empathetic and sane human could justify the means, nor could they imagine how to make their way out of such a mental and emotional struggle unchanged. Unfiltered panic coupled with alienation can warp your brain and throw you off course, even more so if you have a mental illness you’re keeping at bay.
For an hour and a half, Descent Into Darkness fights to prove that a little kindness can go a long way— especially for those who are struggling in ways we have never and may never fully comprehend. Further, it’s an indictment on normal folks and the way we treat unhoused folks who have come onto hard times usually through no fault of their own. There is a specific and nearly existential horror in the way we alienate houseless and financially insecure people, making them feel less than for their struggles. Prakov’s sanity waxes and wanes on his descent into darkness. Those tides stem from whether or not he has been shown kindness as he struggles to get back onto his feet and make his way home.
Descent Into Darkness shows how the mental toll of those struggles and the alienation manifests inside him, and it really is far from pretty. It’s incredibly dark, but so is how we treat unhomed individuals in developed countries. Their plights are deeper and more insidious than we could imagine. But this film does a great job of helping us see that baseless physical and emotional destruction firsthand.
Aside from its smart yet simple story, Descent Into Darkness also shines through its more technical aspects. The directing—expertly tackled by lead actor Cherkaski—is incredibly smart. The filmmaker focuses on Prakov’s buttoned-up optimism at the beginning of the film and truly takes audiences down a spiral through more than just the script. The beginning of the movie definitely has a professional tinge to it to match Prakov’s initial intentions. But as we travel further down the rabbit hole, Cherkaski’s direction becomes more erratic and unpredictable. He uses quippy camerawork and fiercely smart editing by his editing team — one particularly beautiful cut between daylight and nighttime comes to mind—to support the main character’s degradation into psychosis. It’s done in such a way that the pacing of the film ends up feeling perfect, too.
You know when a film’s story feels like it’s moving unrealistically fast, or even just achingly slow? It takes you out of the story, where you need to be firmly planted throughout the runtime, and tends to ruin the experience. The way Descent Into Darkness is shot and edited, with an almost staccato mindset as the film progresses, aids in supporting the story and evens out its pace. The result is a perfectly timed, eerily orchestrated nosedive into hell.
Aside from the crucial behind-the-camera brilliance that makes this film an underappreciated gem, it’s important to highlight one of the main reasons to watch this movie if you haven’t yet: the acting. Cherkaski is electric as Prakov and perfectly balances the character’s desperate innocence—which quickly bleeds into wild depravity.
In 2010’s Black Swan, Vincent Cassel’s ballet company director character is unsure if he can trust Natalie Portman’s Nina Sayers with the lead role in “Swan Lake,” because she excels at the virtuous white swan, but may not have the bite to also play the black swan. Cherkaski doesn’t have that issue. He is the white swan and the black swan in equal measure, which makes you as sad for him as you are for the victims of his senseless violence. It’s a really natural performance. Cherkaski makes for one of the most convincing, menacing, and downright evil antagonists in found footage—maybe even horror in general.
There’s a lot to love in Descent Into Darkness, which feels like an oxymoron when you type it or say it out loud. But it’s truly a special horror film that both shocked and changed me when I was lucky enough to catch a special cut at a film festival. It’s a movie that proved to me there’s magic in horror, that it can do crazy things and that those crazy things can make you feel renewed. It’s a movie that made me appreciate filmmaking that much more. Descent Into Darkness is underappreciated, underseen, and undervalued in an oversaturated genre. So, it makes sense that it would’ve been overlooked. Do yourself a favor and change that. Pop a little popcorn, dim the lights. Just don’t expect to feel like you haven’t, too, descended into darkness when it’s all over.

 662 اجمالى المشاهدات,  10 اليوم

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‘Captive Audience: An American Horror Story’ Review: More Shocking Than Fiction

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Too smart for “true crime” and far more artfully constructed than standard-issue nonfiction, “Captive Audience” revisits the case of Steven Stayner, who in 1972 disappeared without a trace and then resurfaced seven years later, with a fellow kidnap victim in tow. Those with long memories will know right off where else the Stayner family saga is going, but others will be utterly shocked—which is supportive evidence in the case being made by director Jessica Dimmock. “If you have an experience and it doesn’t become a story,” says Steven’s mother, Kay, “it dies.” Which, coming as it does near the end of episode 3, is a statement as startling as any other in this three-part series.
The word “story” is repeated at least a dozen times in the opening moments of “Captive Audience,” mostly by TV anchors and correspondents, framing the Stayner case as it led the news circa Dec. 4, 1972: a 7-year-old boy, vanishing on his way home from school in humble Merced, Calif., stoking the worst fears of parents, inspiring exhaustive searches and then, as all such stories do when they aren’t solved, going cold. The very sympathetic Kay Stayner, who says she never stopped believing her son would return, concedes that when the police contacted her in March 1980, she immediately expected the worst. “I had all this hope for all these years, and at the end I thought it was going to be bad news.”

 967 اجمالى المشاهدات,  10 اليوم

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