Continuing Down the Xmas Hole – Christmas Horror Part II

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Ok – that title just seems dirty, but in the last couple of weeks, I’ve been working through a number of Christmas horrors, new and old, that I hadn’t seen yet, seeing (to paraphrase Morpheus) “how deep this chimney goes.” The answer would seem to be, “not terribly deep, but really rather weird.” Each time I crossed my fingers and hoped that I was going to discover a hidden classic, something that would really surprise me and become a new favorite, and…well, that didn’t exactly happen. I can’t make any claim that today’s movies represent the greatest heights of the genre – but hey, they’re not the worst either. And each of them, no matter how odd it gets (and often because of how odd it gets), or how little it comes together as a whole, each of them has something that I genuinely appreciated and enjoyed.

So, you could probably call these ‘minor entries’ in the canon of holiday horror – nothing here holds a candle to heavy hitters like Black Christmas (1974), Christmas Evil (1980), or Gremlins (1984), but we’ve all probably already seen those (and if you haven’t, boy are you in for a treat), and so much of the pleasure of really digging into one genre, or sub-genre for that matter, is finding those peculiar little entries that will never win many awards, but do give our life on earth so much more character. They may not be great. They may not always even be good. They may only pay lip service to the holiday or to horror. But they do make things all that more interesting.

Now, I write this knowing that everyone and their brother is publishing rundowns of Christmas horrors these days (‘tis, as they say, the season), but hey, just because it’s popular doesn’t mean it isn’t a good idea – and it’s what I’ve watched recently, so it’s what I can write about. So, let’s get into it, shall we? I’m pretty sure I’m going to spoil most of these, so be forewarned…

Silent Night, Deadly Night Part 3: Better Watch Out (1989)

Honestly, I loved the first half of this odd little picture. It is, in a word, ‘weird,’ and I found myself rather hooked by its peculiarities.  We follow Laura, a young woman who was blinded in a car accident and seems to have some degree of psychic powers. A particularly unscrupulous doctor has been subjecting her to experiments wherein he links her consciousness to that of the comatose Ricky, the killer from Silent Night, Deadly Night Part 2 (and brother to Billy, the killer from part 1). He survived getting gunned down at the end of the last flick only to end up in a coma, his Santa hat replaced by the aquarium attached to his head, displaying his murderous brain (he’s also been recast and is played in this installment by genre mainstay Bill Moseley (Chop Top from Texas Chainsaw Massacre Part II).

Probably the first ten minutes of the film is an extended dream sequence in which they enter each other’s minds through a series of sterile, institutional corridors filled with Christmas detritus. After this, Laura begins traveling with her brother and his girlfriend to their grandma for Christmas Eve dinner, all the while having horrific visions of Ricky’s thoughts, dreams, and actions (of course he’s now awake, on a fresh killing spree, and coming for her).

For the first roughly 45 minutes, I was totally engaged. The movie was peculiar, but also really specific and honestly kind of fresh. Psychic stuff, dreams, Bill Moseley with exposed brains, hallucinations, and a solid taste of the holiday as we periodically cut over to Grandma happily preparing her home for the young siblings. I even remember thinking at some point, “wow – this is fun and I really have no idea what’s going to happen – that’s great!”

Yeah – I shouldn’t have thought that. Within minutes of entertaining this assessment, Ricky had killed off granny in advance of Laura and her brother arriving, and once they got to grandma’s empty house, the rest of the film was a totally rote slasher – not terrible or anything, but pretty by the book and not all that inspired. The second 45 minutes were, sadly, a bit of a slog.

But everything leading up to that moment, I really enjoyed, so perhaps you will too…

Silent Night, Deadly Night Part 4: Initiation (1990)

So having seen part 3, I was intrigued to final check out the only remaining entry in this series I hadn’t seen yet. (Part 1 is satisfyingly grisly, Part 2 is campy fun, and Part 5 is a pretty solid little Pinocchio inflected  Christmas horror about a killer toymaker). Directed by Brian Yuzna (of Society, Bride of Reanimator, and Return of the Living Dead Part 3, among others), this film maintains a small sense of continuity with the rest of the series, but then goes off in some wild new directions, aided by the goopy, fleshy, trippy physical effect work of special effects artist and frequent Yuzna collaborator, Screaming Mad George.

Christmas is almost an afterthought this time in this story of Kim, a young woman striving for respect and autonomy at the newspaper where she works, as she takes the initiative to investigate a recent case of spontaneous combustion, against the patronizing instructions of her chauvinistic boss. This brings her into contact with a coven of witches who conspire to initiate her into the insectoid, flesh melting mysteries of their Lilith worshiping, patriarchy busting, pagan rites, coinciding roughly with the winter solstice. For some reason, they are assisted in this by Ricky (from the last two movies), now played by Clint Howard (Evilspeak, The Ice Cream Man), with his brains once again covered by bone and flesh, and no suggestion that they ever weren’t.

There is a tiny dose of Christmas as she visits her boyfriend’s family in the days leading up to the holiday, where she explains that she’s Jewish and doesn’t celebrate, resulting in rude comments from his conservative, religious dad. Later, on Christmas Eve, she shows up to kidnap his younger brother (while Ricky garrotes his unpleasant parents with Christmas lights) as she needs to sacrifice a male to complete the ceremony – so there – you’ve got a bit of Christmas stuff.

Otherwise, it’s all vaginal larva insertions, vomiting up giant bugs, having fingers melt together into tentacley appendages, legs fusing together until they form a giant segmented tail, and lots of randomly bursting into flames. It is filled with insect gross out horror (the cult worships Lilith, presented here as the source of “all that crawls”); it is sleazy and sexually exploitative (including, for those who would want to be warned of such things, a carnivalesque, ritualized rape scene); and it is peculiar, unique, intriguing, creative, and disturbing. It won’t be for everyone, but I sure can’t say I’ve seen a movie quite like this before, and that singularity does speak in its favor.

The Advent Calendar (2021)

It’s funny – I feel that this French Christmas horror from a couple years back situates its scares and uncanny dread not so much in the Christmas of it all, though it does circle around an evil Advent Calendar – counting down the days to Christmas, but rather in the idea that German stuff (and the language itself) is just really creepy (as I understand it, the tradition of the Advent calendar originates in Deutschland).

Eva is a former dancer, now paralyzed from the waist down, whose friend comes back from Germany with an antique wooden advent calendar as a birthday present. The thing is a little threatening – for example, its back is inscribed with a warning that “If you get rid of this, I’ll kill you” – but the two women laugh it off with the sense that ‘it’s German – of course it’s threatening!’ It’s already December third, so she opens the first couple of doors to find some candy and a series of instructions – basically, if she starts eating the candy, she has agreed to keep opening doors, following instructions, and eating the candy until the end, no matter what happens. Again and again, the instructions say that if she breaks a rule, “I’ll kill you!” What fun!

At first, the candies seem miraculous, causing lovely things to happen – her father suffering from Alzheimer’s momentarily recognizes her, a cute guy gets interested in her, some jerks mysteriously die, she can temporarily walk; but unsurprisingly, it quickly takes a dark turn as the calendar starts demanding sacrifices in exchange for its varied gifts. Also, this tall, thin, Germanic demon thing sometimes shows up and kills anyone who interferes. In theory, this takes Eva on a fraught moral journey as she must do terrible things to both win her desires and simply to stop the German Box Monster from offing her as well.

First, it must be said that there are some cool, inventive moments along the way (a surprising death by dog is a standout example) and the Teutonic monster is sufficiently creepy. Also, it’s all played straight and it takes its story and characters and emotion seriously.

But while I generally enjoyed watching it play out, I did struggle to get past a certain drama and horror dampening sense of inevitability. After an intriguing first act, when things really start spiraling, it felt as if Eva was just moving from one demand to the next with little sense of internal struggle or choice. Perhaps she was just already committed and going on the ride, but I suspect I should have felt more of a bite of tragedy in what she was being called on to do, or conversely, the vicarious thrill of knowing that what she was being given was so great as to justify the costs. I didn’t feel those things. More I felt that a cool set up and a solid horror conceit just hadn’t quite landed satisfyingly (and along the way there were some logical leaps that stuck a bit in my craw).

But I don’t want to come off too negatively. There are plenty of horror moments that work, and even a bit of intentional comedy that doesn’t derail the weight of the events. And it was a spin on a concept I hadn’t exactly seen before. But again, though it is all about this Christmas item, it never feels like Christmas time, or like a Christmas movie. It’s just a spooky German box that keeps threatening to kill you if you don’t eat its chocolate correctly.

Violent Night (2022)

Ok, first off, it must be said that although I tend to cast a really wide genre net, I have trouble considering this a “horror movie,” but I’ve seen it listed on some Christmas horror lists, I watched it recently for the first time, and I rather liked it, so I’m going to write about it anyway. I hope you’ll grant me that indulgence. In its defense, it is very, very violent (it’s in the name).

Like a love child of Die Hard, Bad Santa, and Miracle on 34th Street, this gory, vulgar, sweet hearted concoction features a group of brutal mercenaries infiltrating a wealthy family’s remote estate on Christmas Eve to hold them all hostage as they empty the sizable vaults. But it just so happens that a down on his luck, drunk and embittered St. Nick, recently abandoned by his reindeer, has been stranded in the house, there to deliver a gift to the one good child there who still believes in him even if he no longer believes in himself.

Fortunately, we learn that before he became the perennial gift giver that he is today, Santa used to be a fierce Viking warrior and, to borrow a turn of phrase, he isn’t locked in with the mercenaries – they are locked in with him. And in a cute turn, when he takes a walkie talkie from one of the kidnappers, it allows him to stay in touch through the night with Trudy – the nice little girl, ala John McLane and Sgt. Powell.

A tremendous number of bad guys get their heads crushed, impaled on things, eviscerated, exploded, decapitated, or in one way or another, torn to pieces. The little girl, who just saw Home Alone for the first time, also manages to off a few baddies herself with DIY traps (with more brutal effect than in the popular Christmas comedy). And, most importantly, along the way, Santa learns his requisite Christmas lesson, gets his groove back, and comes to believe in himself, in the holiday, and in the potential goodness of mankind once more. In a reversal of many a Christmas horror flick, this time, the killer Santa is the good guy.

It is all a fun idea and generally well executed, but I think it rests so clearly on the shoulders of David Harbor (Stranger Things), who is just absolutely perfect for the role. He balances the misery, the irreverent, fed up crudeness, the bloodthirsty rage, and the genuinely affecting, earnest sweetness so well. I can’t imagine the movie without him – it’s a great vehicle for his talents and he manages to lift it above its enjoyable, but potentially either saccharine or overly mean spirited premise, allowing it to be both and neither in a really satisfying way. It’s a really fun, if not exactly great, movie – but I have trouble labeling it horror. But, again, Santa kills like a hundred people in this thing, so let’s agree that justifies its place on the list.

Inside (2007)

Ok, so we’re back to France for another movie that, while it’s set on Christmas Eve, doesn’t feel all that Christmasy – if anything, it’s just that it’s all about birth (which, for religious types, Christmas is as well), and I guess we hear that some characters are having Christmas dinners, but we don’t see anything of the holiday itself. I think this works therefore, more as Christmas counter-programming than Christmas horror per se. But it is, in many ways, a very effective, visceral thriller, with shocking, horrific moments of jaw dropping, cringe inducing ugliness, and, for a while, oodles of tension and suspense. There’s a reason this was grouped among the films knows as “The New French Extremity.”

Months after the death of her husband in a car accident, Sarah is due to have labor induced on December 25th. Everyone around her seems happy about the upcoming birth – her doctor, her mother, her boss, but Sarah seems ambivalent at best. Depressed and alone, she’s facing down a future with a stranger who will forever remind her of who and what she’s lost. And then there’s a knock at the door…

From there, this becomes an intense home invasion nightmare as an unnamed woman works her way into Sarah’s home, relentlessly coming after her, hellbent on cutting her fetus out of her belly with a large pair of scissors, and willing to destroy anyone who potentially stands in her way. And it gets pretty rough – by the end, rivers of blood have been spilled. All of this happens against the backdrop of riots in the Paris suburbs – everyone is so scared of the “violence” enacted by people who are viewed as outsiders (there are strong xenophobic undercurrents), but it is in this quiet neighborhood that a real invasion and violation is taking place.

When it’s working at its best, Inside is breathless and exciting, with extreme moments of mutilation and pain that can really shock if you stay open to them. If you let yourself go on its ride, it can be a real rollercoaster.

But, it must be said (must it? I don’t know, but I’m gonna) that when it’s at its worst, characters make some of the most frustrating “horror character bad decisions” I’ve seen in a while. For example, at one point, a police officer is in the house, trying to help Sarah escape. His partner is dead, and there are plenty of other corpses lying around as well. He makes a cursory examination of the place and determines that the killer has left. Suddenly, the lights go out. Sarah starts screaming (rightfully so) that “she’s still here!” but he decides that rather than get her to safety post haste, he’s going to move her to a bedroom, lay her on a bed with a revolver and go downstairs to find the fuse box. Have I mentioned that he still hasn’t called in the crime scene to dispatch or that he has a guy he’s arrested handcuffed to him the whole time for some reason (handcuffs don’t work in police vehicles or something…)? Anyway, off he goes and then Sarah – who has been under attack, who has seen loved ones die, who has been stabbed and mutilated and terrorized by this crazy woman – who is clearly still in the house – puts the revolver away and lies down to go to sleep. I’m all for willing suspension of disbelief, but this movie is really pushing it to the limit.

So yeah – some aspects didn’t work for me – and tended to break the tension because I just couldn’t believe the choices being made (also – there is waaay too much CGI fetus-cam going on for my liking – probably any CGI fetus-cam at all is too much, and this movie has much more than that). But when I wasn’t being pulled out of it, which was generally when it was just the two women, the movie was, admittedly, kinda great. So overall, it was a bit of a frustrating watch, but I am glad to have seen it. I’ve long heard its praises sung and there is a lot there to value if you can overlook all the other stuff.

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And there we are. “Another year over and a new one just begun” Happy Christmas everybody! If you’ve been watching your way through the collected holiday horrors as I have, I hope you’ve found some good ones. I’ll say that I like it best when they really bring both elements – when they are full of Christmas and are still a full on horror movie. Some, like Inside, can be a satisfying watch if you want something that is nominally set on Christmas but will give you a totally different experience, but I really love when you get those warm holiday vibes, but they are accompanied by a discordant note of something unsettling, something uncanny or threatening – that, for me, is when a Christmas horror lives up to its full potential.

Stay warm and I’ll be back atcha in the new year.

Catching Up With Christmas Horror

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Tis the season and all that. Thanksgiving’s behind us (though I still haven’t seen Eli Roth’s new movie) and we are therefore past the firewall that stops us from getting into holiday horror too soon and just ruining our appetites. So with December underway, I thought I might glut myself on killers in Santa suits, murderous toys, cannibalistic elves, and awkward family meetings – you know – Christmas!

There have got to be more horror movies set at Christmas than any other holiday, including Halloween. Maybe it’s due to the perverse pleasure taken in souring something oversweet, or the endless parade of symbols, decorations, traditions, and songs this holiday offers up to be wickedly repurposed, or the idea that it happens at the darkest time of the year – the longest night – with just a bit of light to get us through, or possibly the fact (and I am far from the first to observe this) that it is inherently creepy to tell children that there is a huge old man in a red suit watching them all year long, judging their every action, and on the darkest night he will break into their house and… do stuff. Naughty or nice, that’s scary.

Anyway, I do enjoy a good Christmas horror movie and have written about a few in the past. A couple years back, I touched on a couple of great Santa Slashers as well as one of my absolute favorite horror movies ever, Bob Clark’s Black Christmas (1974), and last year I revisited, for the first time in far too long, Joe Dante’s devilishly fun and surprisingly scary Gremlins. But as mentioned above, there are so many more that I haven’t seen. So I think I’m going to do a run through as many as I can watch in the next week or so. There will probably be spoilers – enjoy!

Blood Beat (1983)

Wow. I’d heard that Fabrice-Ange Zaphiratos’s one and only film was worth my time, but when I first tried watching it maybe half a year ago, I just couldn’t get past the non-professional acting, but I am so very glad that I gave it another chance. It’s not what many would call a “good” movie. But it is kind of amazing, and I think I love it.

To give a short, superficial description – Sarah accompanies her boyfriend and his sister to do Christmas at his home in rural Wisconsin with his reclusive, psychic, abstract painter mother and her deer hunting boyfriend. On first meeting, Sarah and the mother experience some mutually unpleasant mental connection, immediately taking against each other, and you know this is going to be an uncomfortable holiday. There’s an immediately unsettling, ominous atmosphere (accomplished via a combination of surprisingly capable cinematography, a blaring soundtrack of weird, warbling synthy twangs and overwhelmingly loud and constant classical music – the climax is set to Carmina Burana – as well as ceaseless wind and nature sounds, and periodic disorienting editing and shots that suddenly appear in negative). This eerie, uncanny vibe builds and builds until the one thing this movie is famous for finally appears – that’s right, a blue, glowing samurai ghost that starts hacking up friends, neighbors, and ultimately, the family itself – seemingly linked to Sarah writhing about on the bed orgasmically. Fortunately, it seems everyone in this family is also psychic – or at least has the ability to make their hands glow and zap samurais with laser blasts – like you do, and in the end, the brother and his sister (who spends an inordinate amount of time running around in the Wisconsin woods at Christmas time in a sleep shirt and leg warmers – give this girl some pants) walk off into the morning light, the threat having been vanquished, if certainly not understood, and Sarah apparently dead under the samurai armor – Merry Christmas everybody!

But that doesn’t do justice to the experience of watching this odd masterpiece, so let’s just boil it all down: a freaking samurai, lasers, Christmas, psychics, abstract painting, an oppressive soundtrack, negative shots, eerie nature photography, peculiar psycho-sexual content, early eighties visual effects that have aged poorly and probably looked bad in 1983, amateurish acting, strained dialogue, a really uncomfortable family visit, bad romantic relationships with pushy, petulant, shouty men, an all-out assault on the notions of logic and causality – maybe that begins to communicate the film slightly better.

Now all of this may sound like “so bad it’s good” territory – and I can see how one might view it as such. It is not, by any means, a “well-made film” and I think people could have a really good time laughing at its faults, non-sequiturs, and absurdities – for all that it is weird and confusing as a summer day is long, I was never bored. My jaw was often hanging open in shock, but I was never less than fully engaged. What’s more, I found it to be so much more than just a “great bad movie.”

Honestly, and I imagine this was largely by accident, I felt it was kind of a great movie in its own right. Watching it, I had such a strong sense of a kind of folk horror – the setting and the atmosphere and the mysterious events all worked for me – and on top of that, I read it as a sort of captivating “naïve art.” Clearly, most of the people involved were not professionals in their positions – many of the actors never performed in anything else before or after this project. The writer-director-composer-editor had written one other film (directed by his dad), but this was his only directorial effort (produced by his dad). The cinematographer, Vladimir Van Maule, was actually quite proficient, but still, through a miscommunication early in the project, he’d thought they were shooting the film for TV and so he filmed it all in 4:3 instead of a more cinematic widescreen, so let’s say there were issues. But all of this lack of experience somehow allowed something weirdly pure to slip through. I think they stumbled backwards and blind into ‘art.’

Sure, these may not have all been professional film workers, but there were strong (sometimes nonsensical, but strong) ideas, there was a real feeling that connected, and there was an odd talent or drive or spirit at the heart of it all that got its hooks into me. And this somehow worked on all levels. For example, when I’d first tried watching this, as mentioned above, I just couldn’t get past the non-professional acting, but on this viewing, it all just seemed so naturalistic and unpretentious. Sure – not every acting choice was the most interesting, but it was so simple, unadorned, and earnest – and it got to me.

On a filmmaking level, it takes some big swings, working with a stylistic freedom that “better” films wouldn’t allow themselves, and there is clearly an eye there. There are very attractive shots and evocative staging that lets the characters speak for themselves, just by inhabiting space, such as one set up in the living room – everyone has something going on and the framing allows it to breathe. Other sequences really sing, such as the first appearance of the samurai, who shows up to slaughter some neighbors as Sarah twists and turns on the bed, panting and moaning. Why is there this sexual connection? Who knows? Why is the husband in the neighbor couple such a jerk to his wife, and why does she put a tray with tea service on the squishiest, least stable waterbed I’ve ever seen – doesn’t she need to sleep there later – is she a fan of sleeping on wet, tea-stained sheets? Their relationship is strained and strange, but still actually believable – sometimes relationships are weird (and these little odd details give their marriage a surprising degree of verisimilitude). The linking of Sarah’s orgasms with the samurai’s violence is utterly bizarre, but it clicks in the moment, and as the editing feverishly jumps back and forth between her arched back and the middle aged husband next door fleeing in his saggy, once white briefs from this mysteriously exotic, eastern killer, it just feels right – strange and baffling, but right.

In the end, it all felt more like successful, if impenetrable, “art” than a ‘bad horror movie.’ But this wasn’t art to communicate meaning. I don’t think there is something to be interpreted in this piece and any discussion of what it all means, for me, is pointless. But it worked – it did  something. My mind was enjoyably cracked open by the weirdness, but not so much that I lost interest. Was I moved? Maybe a little. Did I think? Maybe just “why?” But I did clearly have some kind of art experience – let’s say I was transported. Where to? I have no idea, but for a little less than 90 minutes, I was in for the ride and I’m so happy that I took it. It was a worthwhile, totally non-cerebral aesthetic encounter.

Now, as I’m including this as a Christmas movie, just how Christmasy was it? Not a ton perhaps, but it does all revolve around something that can be such a common holiday experience – going with your partner to their family home and not feeling right there. His family has different traditions. You feel his mother is judging you. Your boyfriend ignores your discomfort because for him, all of this is normal, and he keeps trying to initiate sex even though you can feel his mother’s weird psychic presence in the room, watching, thinking the worst – deeming you a tramp, or possibly the reincarnated spirit of a vengeful samurai. And of course, it all ends with katanas, lasers, howling wind, and Carl Orff. You know, Christmas…

It’s a Wonderful Knife (2023)

This delightfully titled Christmas-movie-cum-slasher has oodles of pedigree. It was written by Michael Kennedy, the screenwriter of the playful and moving Freaky (2020), and directed by Tyler MacIntyre, the director of the rather cynical, razor sharp Tragedy Girls (2017). It’s got a great cast, including Joel McHale (Assassination Nation), Justin Long (Barbarian), and Katherine Isabelle (Ginger Snaps). And it’s got a clever, impish, high-concept premise – shuffling together the tropes of a Christmas movie, particularly of a Hallmark channel variety, with those of a masked-killer slasher. It’s a great collection of elements, and it all comes together to be a rather good time, if not particularly groundbreaking or life changing. That said, off the bat, I feel like I’m damning with faint praise, but I did genuinely like watching this movie, even if I do have my criticisms.

I have written before on the emergence of a newish sub-genre/approach – that of the “meta-modern slasher.” Working with a high degree of genre-awareness, these contemporary ‘dead teenager movies’ tend to consciously build on tropes and forms much as “postmodern slashers” such as Scream have done, but with new degrees of both genre play and emotional sincerity. In all cases that I’ve seen, there has been a ‘big idea’: what if Groundhog Day were a slasher? Or Freaky Friday? Or The Purple Rose of Cairo? Or Back to the Future? Or, in this case, a made for TV movie riffing on It’s a Wonderful Life? Working within both the forms of the slasher flick and whatever the given cinematic inspiration was, there is a lot of room for both knowing comedy and brutal kills, and at their best, the two genres complement each other, each bringing out the best in its unlikely counterpart. But what really distinguishes these movies is not the cute idea of pairing two seemingly opposite types of films, but rather, their glowing warmth and good heart. These works tend to offer the thrills of a violent slasher, but the end effect is really never one of horror; rather, they are ultimately stories of reconciliation, of family, of loss and love.

In the case of It’s a Wonderful Knife, I can’t exactly say that both the slasher and the Christmas film are perfectly served by the pairing, or that they are both executed to perfection, but they are both clearly present. Most importantly though, even if there are narrative lapses, unearned character turns, or moments that just didn’t add up for me, I can’t deny this film’s big, loving heart. I’d be lying if I claimed not to have cried by the end of this movie that sees sharpened candy canes shoved through people’s heads, beheadings, impalements, electrocutions, and lots and lots of stabbing (though I admit I was disappointed that at no point did someone pick up the killer’s signature blade and say something like, “I wish he’d stop killing townspeople, but I gotta say, it really is a wonderful knife! (Look at the camera with raised eyebrows! Freeze frame! Roll credits!)

We start with the Hallmark movie – in the picturesque small town of Angel Falls, an unscrupulous real estate developer is making Winnie’s dad work on Christmas Eve as he tries to buy up the last piece of land standing in the way of his new giant shopping center/condos/fill-in-the-blank tower of greed. Winnie and her family are sad about this, but for years, it’s been the norm. Ok – so now we add the slasher: Winnie finds herself facing a masked white angel who has already murdered a couple of her friends, and she unmasks and kills him. Merry Christmas! One year later, everyone in the town has progressed from the dark events of last Christmas and is trying to just dive into the holidays and commit to being happy. Winnie seems to be the only person incapable of moving on (I mean, she is also the only one who had to kill someone last year).

Thus, so distraught in her trauma, so isolated by everyone else’s carefree gaiety, she makes a Christmas wish to have never been born (for me – I believed her misery, but the leap to “everyone would be better off without me” seemed more than a little abrupt – almost perfunctory – to hurry up and get us to the premise – in It’s a Wonderful Life, I’m sure George doesn’t decide to kill himself until well after the 2/3 mark, and in this case, Winnie does so before a third of the movie has passed – and this makes a difference). And suddenly, before any bells ring or angels get their wings, no one in Angel Falls knows who she is anymore, and the no-longer-killed-a-year-ago masked angel slasher is back (since she never dispatched him, he has apparently been killing someone every couple of weeks for the whole last year). What’s more, the town has fallen fully into the grasp of the evil developer – now the mayor, and everything has just gone utterly to hell – like Pottersville on crack – literally – now many of her friends (who no longer know who she is) are junkies – maybe this is all a reference to Community, the show where most first saw Joel McHale – this is the darkest timeline. In an uncharacteristic turn for a whodunit slasher, she knows the angel’s identity, but no one believes her of course, and she has to team up with Bernie (a social outcast with whom she shares some chemistry) to try to set everything right. Along the way, the two girls both learn to value their place in the world, each playing Clarence to the other, as they furthermore fall in love.

Of this recent wave of heartwarming, genre bending, comic slashers (such as The Final Girls, Freaky, Happy Death Day, or Totally Killer), sadly, I can’t call this my favorite, but I did very much enjoy it. It takes some unexpected turns here and there, though so much of it depends on us already knowing how a certain kind of story must progress; many of the characters have a spark, and I just enjoy spending time with them; and the Christmas movie of it all generally lands (as I mentioned, it did get me to cry by the end – though I’m an easy mark) – but if at any time it didn’t, I knew it was ok cause someone was going to get stabbed soon. Also, I did connect with the central romance – there wasn’t necessarily a lot of story to hang it on, but the two lead girls did spark, and it was affecting seeing them connect.

And there were problems as well. Many beats don’t track, some moments left me really scratching my head (glowing eyed hypnotism – huh?), and it often felt rushed. I think the story could have benefited from even an additional ten minutes. It clearly combines the slasher not with Capra’s classic film, but instead with a more superficial spin on it, as get churned out every year for TV or now streaming (I heard in an interview with the director that it was even filmed in a town used for a great deal of Hallmark Channel movies and that much of the crew had worked on such films previously). And yet, I find myself pre-disposed to like it – I want to like it – it is likeable (if clearly flawed) – and so I do like it. Of course, if all of its elements worked a bit better, it could be really special. As it is, it is merely a frolic – a light entertainment that passes a dark, cold December evening with a bit of frothy warmth – an imperfect, but highly watchable 87 minutes, full of character, tons of positive representation (a surprising percentage of named characters being gay and/or people of color and/or people with some physical difference – it’s a very open film in that way), a ticklish idea, and, again, a whole lot of stabbing.

Will I watch it every year? Maybe not – but if it’s on some Christmas time, I wouldn’t object to watching it again.

Black Christmas (2006)

So, I know this was a much beloved and critically praised film when it was released back in 2006… by which I mean, people HATED it. Made right in the middle of the 2000s remake boom, it was everything that the original was not. Whereas the earlier film had been a character driven exercise in building suspense and terror while showing very little, following a group of girls you love spending time with, whose deaths you fear for and mourn, with a killer who is never more than an eye through a crack or a deeply off-putting, horrifically unhinged voice or set of voices on the phone, who we never know or remotely understand (and is all the scarier for it), the remake was a gorefest with thinly drawn, disposable characters who were sometimes difficult to tell apart (even if a few were recognizable, known actresses), filled with drawn out exposition, detailing every moment of the killer’s development, eliciting some gasps of shock or revulsion, but ultimately too incoherent to actually be scary. It was… not loved.

And yet, over the years, I’ve seen it experience a kind of reappraisal. With the distance of time, people have been more willing to look past the comparison with its superior namesake and find value in what it is rather than just slamming it for what it isn’t. Now, I never watched it back in the day, and thought this Christmas horror run down was a good opportunity to finally check it out. So what did I think?

Well, the criticism is not wrong. But neither are the people who adore it.

First of all, I would love, if I had the power, to issue a rule that people must stop naming movies Black Christmas. Bob Clark’s 1974 film is simply too good and anyone naming their new film after it is just shooting themselves in the foot (kind of a horror version of naming your movie Citizen Kane). That was true with this flick, which was actually a remake, taking and repurposing many iconic images, names, and elements from the earlier film (sorority house, Christmas break, weird phone calls, crystal unicorns, snow globes, drunk girls being put in bed to sleep it off, a killer named Billy/Agnes, Andrea Martin, etc.), but it was also true for the 2019, much derided, “remake” in name only – which seemed like a completely different story that some executive had slapped the name Black Christmas onto in order to make a couple extra bucks from name recognition. For the record, I did actually rather enjoy the 2019 film – probably much more than this, but I believe the name really hurt it – and it was so unnecessary given how if it’s actually remaking anything, it’s not Clark’s film, but rather S02E05 of Buffy the Vampire Slayer  – “Reptile Boy.” Watch them both and tell me I’m wrong.

But about this movie, I can’t say that I loved it, and I can’t say that its structural issues are insubstantial (there were moments late in the film when I really couldn’t follow what was happening from one moment to the next and it feels like almost a third of its runtime is expository flashback), but amidst what might honestly be deemed a total mess, there is some enjoyable horror to be had.

A classy film this ain’t. Rather, its dubious strengths lie entirely in outré moments of utter, shameless excess, whether in terms of gore, gooey gross outs, or sexual taboo. An incestuous, murderous mother, crispy Christmas cookies made of human skin – disgustingly dipped in a glass of milk before being munched upon, and so, so, so many eye balls pulled out of their sockets and squished or eaten or hung on a Christmas tree as festive ornaments – this movie cannot be accused of gently beating around the bush, too scared to commit to its horrors – advisable or not, it is always willing to “go there.”

And that can be fun. Even if it is often weighed down by its failings as a film writ large, this Black Christmas is an absurd, gross, cringe inducing good time that succeeded a couple of times in making me squirm in my seat when I wasn’t scratching my chin, wondering what on earth was going on. Furthermore, I don’t think it’s a film that could have been “better.” It very much is what it is. For example, the amount of time spent in flashback, giving us a backstory for the killer feels just deadly – how could this interminable exposition possibly go on so long? And just when it seems to have finished, a new character starts it up again and we’re back to another ten minutes of flashbacks. But, honestly, some of the best, most awful stuff is in those overlong flashbacks, so I wouldn’t want to cut them. Babies, bathwater, and such… It’s like the song says, “you take the good, you take the bad, you take them both, and there you have” an abused child growing up to eat his mother and subsequently murder sorority girls for some reason…

So yeah – it’s not great – but there is fun to be had if you’re open to it. I’m not offended that it exists, and it does have some memorable moments of excess – which I always have a warm place in my heart for.

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So maybe that’s a good start on the season. These have been three very entertaining watches, even if none is exactly a classic for the ages. But having covered them, there are so many more seasonal films I still haven’t seen, so I think we’re going to stay on this train for at least one more post. Stay warm out there.

In Defense Of #1: Halloween Ends

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I’ve mentioned before my ambivalent relationship with horror fandom. On one level, it is great how the internet makes it possible to connect with others who share your interests, who have seen what you’ve seen (and frequently much, much more – providing a font of good recommendations), who can, by posting their own thoughts and responses, help you better articulate your own (something I’ve valued from other film writers that I hope my writing can, in turn, offer my readers). So many great blogs and podcasts have filled my watchlist with an endless selection of hidden gems. Via Facebook groups or Twitter, I’ve communicated with loads of knowledgeable aficionados of the genre – and that can be really enriching.

But sometimes it is just so negative out there.

As I understand it, the algorithms of social media always favor a biting critique over gentle equivocation. Fan spaces overflow with complaints that “(insert new release here) is the worst movie I’ve ever seen.” (Seriously, the worst? These statements made about capably constructed films – even if they’re not good, they at least look like a real movie – always make me wonder if these writers have ever seen an actual bad movie). Even very thoughtful, respectful writers and podcasters can really hate something and go on at length about just that. And don’t get me wrong – I can enjoy a good rant, very negative reviews can be good fun, and a bit of snark never really hurt anybody, but for me it just gets to be a bit too much. While twenty something years ago, I could get enraged about how offensive it was to remake some classic horror work in an obvious, soulless cash-grab that either missed the point or even directly flew in the face of what had made the original so significant, now I find that the longer I inhabit fan spaces, the lower my tolerance has become for such vitriol.

And nothing inspires fans to vent their spleens more than a much anticipated, high profile release – such as an entry in a long running franchise, or anything new that’s getting a lot of buzz and critical praise, which therefore needs to be knocked down a peg (often works assigned the title of ‘elevated’ horror). And so, I’ve had it in mind for a while to start a new series (which I will hopefully add to with more regularity than some that came before it – Polish Horror Series, I promise to get back to you someday…) wherein I take some film reviled by fans that I actually enjoyed, at least on some level, and go into what I found in it to value. I can’t claim to love all of these, but I can’t discount them either.

So to kick this off, I thought I’d pick up a relatively recent film that came in for heavy fan hatred on release last year, but which I was surprised to find myself rather enjoying when I finally checked it out a few months back – David Gordon Green’s Halloween Ends (2022). It should be obvious, but I’ll say it anyway – this discussion is not possible without near total spoilers, so be forewarned.

Halloween Ends (2022)

Poster for Halloween Ends
Is it just me, or does the poster look like it could be advertising a buddy-cop movie?

The third and final entry in this recent revisiting of the franchise, I think Halloween Ends drew venom for much the same reason that the original Halloween III did – a surprising lack of Shatner faced slasher, Michael Meyers. But whereas the 1982 film had set out (and failed) to anthologize the Halloween series, making each subsequent entry a new standalone story (Carpenter had reportedly never intended to start a Michael Meyers film series), “Ends” purports to bring both this contemporary trilogy, as well as the Halloween franchise as a whole, to a close – finding a satisfying conclusion for both the iconic masked killer and Jamie Lee Curtis’s Laurie Strode. Given the way this was marketed as such, it is not terribly surprising that audiences turned against this film, which out of its 111 minute run time features less than 11 minutes of the fan favorite slasher. Now, to be fair, a great many horror films, including the 1978 original, barely show the killer or threat, but their presence is often felt – always there, looming, just out of sight, around the corner, watching, waiting, creating a sense of ever-present danger – and in this case, the film instead just tells a completely different story for most of those other 100 minutes. A bold choice, but apparently not one destined to win over many fans.

But I have to say, I really liked it – more than the 2018 film, and certainly more than 2021’s Halloween Kills, which I really did not love, but also more than most of the sequels. I mean, I’ve never really been a franchise kid, but I have watched most of the Halloween films (one day I’ll catch up with Rob Zombie’s efforts, which I still haven’t seen) and, while I love the original and might even watch it about once a year (and I am a big fan of Part III, which has happily experienced a popular reappraisal in recent years), I can’t say I’m really a big fan of the series, per se. Even when there’s a new addition to the lore, such as the Cult of Thorn in part 6, it all feels more than a bit samey to me. There is often a ominous weight of seriousness hanging over it all, but at the end of the day, we are back to the faceless killer, embodying evil, slashing his way through town. Each film has something to enjoy, but though I always end up watching a new one on release, I’m rarely that excited. Nor am I particularly disappointed. They’re fine.

And so, the fact that this tells a new story, that it is barely a Michael Meyers film at all, is a definite reason for greater interest on my part.

Most of the film circles around another troubled young man, Corey, the same age when the film begins that Michael was in ’78, who does not begin as a deadly child psychopath, but rather just has one really bad Halloween night, resulting in the accidental death of the kid he’s babysitting (in one of the best scenes of the movie – tense, playful, and shockingly awful). This unsurprisingly results in him becoming a pariah in Haddonfield, until the hatred directed at him metastasizes to the point that he snaps and actually become the monster he’s already believed to be.

Along the way, he strikes up a relationship with Allyson, Laurie’s granddaughter, who’d lost her boyfriend, both of her parents, and most of her friends to Michael’s knife four years earlier when the killer resurfaced. She is just as burdened by the past as he is, though she’s doing a better job of functioning in public (and, as he points out, it is quite different to be viewed as a trauma survivor than a child murderer). Finding a kindred spirit in Corey, she is immediately drawn to him. Furthermore, this attraction doesn’t diminish as he tips over the edge and begins to copycat Michael’s killings, even donning the mask as he does so. Rather, the darker he goes, the more confident, defiant, and magnetic he becomes, and she is ready to blow town and go start a new life together somewhere else, far from the accursed place they’ve both called home. Those plans go up in smoke, however, when his killing spree gets out of hand (as if there’s such a thing as a killing spree that hasn’t), culminating in an attack on Allyson’s grandmother – not the sort of thing one expects to end well.

On paper, this reads as melodramatic, and I suppose it could have played that way for some, but it genuinely worked for me. I felt for Corey’s plight and enjoyed this slower, emotional exploration of a broken young person backing into a corner of violence and cruelty and power and freedom. I appreciated time given over to looking at how many characters, not only Laurie and Allyson, are trying to move on with their lives, even finding peace and new direction, but how some just can’t successfully take that step. I liked how sidelined Michael Meyers is in what some might call ‘his own’ film. While he is terrifying in the first movie, and still scary in the second, for me, there is a law of diminishing returns and after a certain point, I just stopped finding his brand of blank, unexpressive ‘evil’ all that interesting anymore.

I mean, what is ‘evil’ anyway? As a non-religious person, the notion of a character simply being ‘evil’ in this kind of essential way just falls a bit flat for me. Now, that has always been a core aspect of Michael, as officially diagnosed by Donald Pleasence’s Dr. Loomis (a deeply enjoyable performance and character – but seriously, NOT a good child psychiatrist) – and that’s all well and good for a while (one, two, maybe even three or four films), but if you talk about it too much, let us just say it strains credulity (this is the 13th entry). That said, shifting focus to a study of one young person who experiences a terrible, accidental event, is then blamed for it, is treated as a killer, as a ‘bad person,’ is bullied and harassed and almost killed, before discovering the power and freedom that comes with actually choosing to be the monster, coming to feel how freeing, how empowering it is to rise up, to be willing to cause harm, to kill in cold blood – that is interesting. That is moving. That is exciting and troubling and scary and feels ever-relevant (how many dangerous young men are there out there, ready to snap?). And on top of that, I bought the central relationship – I believed the attraction, the way that as Corey becomes (unbeknownst to Allyson) a killer, he grows more charismatic – and she finds kinship and emotional release with him.

This movie is filled with unpleasant people who cannot forgive, and who assign blame unfairly and capriciously (seriously, why do so many people blame Laurie for Michael Meyers’s crimes when all she ever did was rave about how dangerous he was and try to kill him when given a chance – why does no one seem to remember Michael’s doctor from the 2018 film who worshiped him and arranged for his escape?), but it is also full of people who are trying to help each other (Corey’s boss at the scrapyard/stepdad? seemed like a really good guy – it’s a shame he didn’t make it), even if they don’t really know how, who are just trying to get through life, making mistakes, sometimes with terrible consequences, and who sometimes find their way to doing evil as they walk their troubled path. I think that is a much more engaging and fascinating kind of horror than simply another affectless masked killer.

So that is Halloween Ends. Is it my new favorite movie or, for that matter, a satisfying conclusion to this ‘trilogy’? No, of course not. But did I really enjoy it? Absolutely. I was engaged throughout, often in suspense, emotionally invested in the characters, and digging on the vibe. Of course, I can’t claim it’s perfect (for example, I’ve not gone into how Corey finds Michael living in a sewer like some kind of Pennywise the clown, infecting the town with his evil and is somehow recruited by him to go kill; I don’t feel like detailing just how much voiceover Laurie has, reading from her book about the horror of Michael’s radical EVIL; nor do I want to spend much time on the final confrontation between Laurie and Michael that feels almost from a different movie (probably the movie most people thought they were going to see) before she leads the town on a procession to the local junkyard so that they can all see her destroy his body in an industrial shredder and thus rest easy knowing that !!!EVIL!!! has finally been destroyed and that Halloween has really and truly ended), but I’m sure I’ll forget its more regrettable aspects and it’s the other elements that will remain. Truly – I watched this for the first time back in June and really only remembered loving the emotion and horror pinch of the Corey storyline, and I was quite surprised when I rewatched it last night and discovered just how much silly stuff I’d forgotten.

There sure is a lot of talk about evil…

And that does somewhat bring me back to why I wanted to do this “In Defense Of” series. It’s so easy to jump on a work’s faults, but life is full of faults. I just don’t have the power to detail every failure I see, to get worked up about a misjudged artistic choice (or an unfortunate economic one). I find it much more interesting to consider instead what did land, even in an imperfect project (and, by matters of degree, there is no other kind). Often that reassessment comes much later (for example, see how Halloween III has become a beloved cult classic), but one doesn’t really need to wait 20 years to decide that maybe this new flick isn’t actually “the worst movie ever,” and that there can be something of value to take away from it. That’s what I’ll try to do with this series…

Ten (more) Great Horror Songs

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Sometimes I’m not looking for some “great classic work” to analyze and I don’t feel like pulling the trigger on something new that I may or may not enjoy or otherwise find value in. Sometimes, I just want some of the (perhaps ironic) comfort that comes with horror vibes in musical form. There’s just a specific pleasure to be found in music that somehow connects with the genre. Maybe it’s a rocking song based on some bit of horror film or literature. Maybe it’s a theme from a favorite movie. Sometimes, it’s even just a tune that features in a key sequence of a film that you don’t even exactly love, but the fact that it’s from a horror movie elevates it to a kind of beloved status. These songs can just be a lovely, familiar place to hang out, a warm blanket on a rainy November day, or a kick of energy to get in a party mood or get stuff done. Maybe it’s just because I’m a fan of the genre and they bring to mind remembered satisfaction, but I think there’s also some rich juxtaposition of dark and light at work. Here’s a fun song that plays while terrible things happen. Here’s a catchy dance song about death and destruction. It’s just easier to get into some upbeat number when it has a dash of murder to cut what could otherwise be saccharine – to entirely mix my metaphors, it’s the spoon full of sugar that makes the pop tune go down.

I’ve done a few such lists before, often with more stringent rules. Here you can find a list of some of my favorite horror scores. This is a list of treasured songs found in horror movies. And here is a list of groovy tunes that aren’t from films per se, but all have horror themes. That said, this week, I’m casting a slightly wider net. Some of these will be the title theme to a movie. Some will just feature in a particular scene. Some will be about a horror topic or will reference a horror work. But they all rock.

Killer Klowns – The Dickies (1988)

Killer Klowns From Outer Space - Music Video

I just mentioned this back in September when discussing the classic for the ages, Killer Klowns from Outer Space (1988). It is a deeply silly movie with a theme to match. Building on Fucik’s “Entry of the Gladiators,” (the first song that comes to mind when you think of clowns or the circus, which I just learned was composed as a military march – wild), The Dickies get the party started during the opening credits with this bopping song. I read that they wrote it knowing very little about the movie other than the title, but it somehow strikes exactly the right tone. It’s bouncy – it implies circus – and it has just a bit of an edge, a note of something threatening, even sinister. It sets up what the movie is going to feel like: silly and playful, but with a bite.

No Vampires Remain in Romania – King Luan (2019)

King Luan - No Vampires Remain in Romania

Apparently this plays during the credits of s01e02 of What We Do in the Shadows, a show I love, but I can’t claim to have discovered it there. Rather, the Spotify algorithm just knew this was a song for me, and boy is it. Not actually connected to any particular horror work, it is just a great vampire themed disco song. Or maybe it’s a lack-of-vampire themed disco song, to be precise. What is it about actually? I’m not sure – maybe it’s just a bunch of random stuff that rhymes, but it feels vampirey, and it sounds cool and it’s the sort of thing that you can jump around the kitchen to or shout along with in the car. Seriously, I don’t really understand what’s going on here, but it makes me get up and boogie. And it’s got vampires and a video that for some reason features a lot of Nikola Tesla. Sure – why not?

Nosferatu – Blue Öyster Cult (1977)

Blue Oyster Cult - Nosferatu (lyrics)

Wow – I just discovered this one a couple of months ago, but it is tremendous. A quiet creeper with a bridge that just stomps, it is entirely about Murnau’s 1922 masterpiece, focused on Lucy and her death as an act of self-sacrifice. In this, it only touches on one aspect of the story, but I feel it does so richly and effectively. It hangs out in a seventies rock groove – maybe not the place you expect to really feel a German silent film from the 20s about a particularly ugly version of Dracula, but I think Blue Öyster Cult rather nails it. I feel the mood, the atmosphere, the drive of the story, and when it opens up into a full out rock song, the sustained tension of the beginning pays off with a real release. I’ve always loved their Godzilla – do they have other songs based on horror greats? Something to check… Also, one note of interest – to avoid issues with copyright (unsuccessfully), Murnau changed all the names from Stoker’s novel, changing the name of Mina Harker, for example, to Ellen Hutter. Yet, in the song, it does reference the character as “Lucy” (Lucy, of course, being Mina’s friend in the novel). Interestingly, two years later, in his remake of Murnau’s film, Werner Herzog names the character “Lucy” as well. With some rudimentary googling, I’ve not been able to find the story of how the name was changed thus, but I am so curious – was there some source that both the band and Herzog took the name from? Was Herzog just a fan of Blue Öyster Cult? (I wouldn’t expect it, but who knows.) If anyone out there has info on this, please leave a comment!

Howling – Steve Parsons and Babel (1985)

Howling II Soundtrack / Steve Parsons & Babel - Howling Club Mix (1985)

So, The Howling II: Your Sister is a Werewolf (1985) is famously a “very bad movie,” a judgment that may be earned, but I’ve got to say, I think it’s a pretty good time, and in its defense, I feel it knows what it is, and that its failings as “cinema” are balanced by the degree to which its tongue remains firmly planted in cheek. But beyond camp value, one standout element is its main theme, simply titled “Howling,” by Steve Parsons and the New Wave band, Babel. The band is featured in a club scene playing the song, but otherwise, the song seems to play constantly throughout the film and somehow, for me, it never gets old. It’s got a cool, eighties erotic-pop sound, lyrics that all give solid werewolf vibes, and it unabashedly keeps repeating the title of the film (at least the “howling” part of it – the actual line “Your sister is a werewolf” is left to the great, unfortunate Christopher Lee to have to utter – this was reportedly not his favorite film appearance).

The Cask of Amontillado – The Alan Parson’s Project (1976)

The Cask of Amontillado by The Alan Parsons Project

The Alan Parson’s Project’s debut album was an ode to the works of Edgar Allan Poe, titled “Tales of Mystery and Imagination.” I don’t know how much it really feels like Poe to me, but it was obviously made with great love of his oeuvre, and it was a real nail biter for me to choose only one song to recommend. It all, as I understand the “kids” were saying a few years ago, “slaps.” Let’s just link the whole album – give yourself 40 minutes some time to check it out – it’s worth it. Alternatingly orchestral and proggy, every track is interesting and fun and at least Poe literate. The fourth song, “The Cask of Amontillado,” walks the line between the two poles of the album – about half of which takes the form of seventies prog-rock jams and half of which is a symphonic suite circling around “The Fall of the House of Usher.” This track certainly rocks, but also has an older kind of atmosphere as it tells the tale of a man slowly dying, having been walled up in the cellar.

The Blob – The Five Blobs (1958)

The Five Blobs - The Blob (Burt Bacharach and Mack David)

Somehow I’d never seen The Blob (1958) before last spring. I don’t know how this iconic 50s teens vs aliens monster movie had so long eluded my attention (I mean, I knew about it, but just never watched it), but I’m glad I finally checked it out. Here we have another super fun theme that plays during the opening credits and alerts us to the good times we have in store. The song is lively and playful, and so is the movie, though it does also have some real threat and weight and loss along the way, not to mention, pretty cool goo-based special effects. Never having seen it before, I’d somehow expected a more self-serious affair, but as the credits rolled, hearing this, I realized I was in for something a great deal more fun.

Also, I think it’s interesting how this theme, playing in the beginning, functions in such a similar manner as the above praised “Killer Klowns,” given the degree to which that later film is so clearly modeled on the skeleton of, if not The Blob, per se (blobs don’t have skeletons after all), then films like it, to be sure.

Prom Night – Paul Zaza, Gordean Simpson (1980)

Prom Night (1980) Disco dance

Prom Night, the 1980 slasher set on, you guessed it, prom night, is a pretty good time, if not groundbreaking. There’s a terrible prank gone wrong, a series of vengeance killings of teens out to have fun, a perfunctory but ultimately satisfying mystery as to the identity of the killer and a solid, downbeat ending. It’s also got Jamie Lee Curtis lighting the dance floor on fire in a disco sequence at the eponymous school dance (to a song that bears the title of the movie) that goes on way too long for narrative value, but who cares? It’s one of the best parts of the flick. She and her dance partner (Casey Stevens when he could pull the moves off, a dance double when he couldn’t) really bring the party to life. And it’s generally a groovy song to boot. Generally here, I’m sharing Youtube clips of the songs themselves, but in his case, I’ve gotta share the clip from the movie even if the song isn’t complete. This is probably one of those cases where if this song weren’t from an early 80s slasher, it would just fade into other disco of the era, but since it comes from a movie that features a severed head, I’m there for it!

Gangster Rock – Felony (1981)

Felony "Gangster Rock" from Graduation Day

So, following the last entry, I just have to include another clip from a different early 80s slasher, in this case, Graduation Day from 1981. Once again, we have a scene from a school dance that goes on so much longer than you ever might expect it to. But in this case, it is interspersed with footage of two teenagers (one of whom is scream queen, Linnea Quigley) slipping out to the woods to have sex and get murdered by a sword wielding maniac (the killer’s a bit less creative here – one person in this movie gets killed by a football with a blade attached to it). In the beginning, the song didn’t exactly grab me, but after it had been playing for like 8 minutes, and after being so integrally tied to a pretty fun golden age slasher kill/chase scene, this energetic, keyboard slamming rocker wormed its way into my heart. And honestly, I think the whole sequence is really buoyed by the music. In this era, you can see so many similar scenes that play out in such similar fashion, but setting it all to this party sound and cutting back and forth with such energetic editing gives the whole bit a real kick. It’s great. The bladed football is great. The movie has a great final girl. Honestly, this movie which might be deemed ‘objectively bad’ by some, which Linda Gross of the Los Angeles times called, “an insinuating and lecherous movie with many hokey effects and poor-quality acting,” has a surprising amount to love in it.

Also, I would be remiss if I didn’t link to Stacie Ponder over at the Final Girl blog and her observation about this party scene. I’d seen the movie a couple times before and had never noticed this detail, but once she pointed it out, it’s the only thing I can see, and it’s pretty special.

The Hell of It – Paul Williams (1974)

Phantom of the Paradise - The Hell of it

Playing over the closing credits of Brian De Palma’s epic, weird, wonderful flop of a horror rock opera, Phantom of the Paradise (1974) (starring, among others, Jessica Harper – most known to horror fans as Suzy Bannion from Argento’s Suspiria), this searingly cynical song is just so tight and mean and glorious. Apparently, it was written to play at Beef’s funeral, but the scene was cut, but as I think it might be the best track on the soundtrack, it’s a great way to close out the picture. The movie itself is odd, but really distinctive, and I do recommend it if you ever have the chance. De Palma throws “The Phantom of the Opera,” “Faust,” “The Picture of Dorian Gray,” and a particularly sour view of the 70s music industry into a blender and pours out an utterly unique film. It’s not for everybody, but I kind of love it, Harper has an amazing, deep singing voice that you might not expect from her slight frame (she’s also great in Shock Treatment (1981), Richard O’Brien’s follow up to Rocky Horror), and the music, all by Paul Williams, who also stars as the Faustian record producer, is uniformly fantastic, with this song being, in my opinion, the standout hit.  

Rock Until You Drop – Michael Sembello (1987)

Rock Until You Drop (Remastered Version)

From Michael Sembello (who also gave the world the Flashdance song, inspired by William Lustig’s gritty, scalp collecting killer film, Maniac (1980)), this up-tempo 80s inspirational jam plays during the montage in The Monster Squad (1987) when all the kids are spending the day gearing up to do battle with the, you know, monsters: carving stakes in shop class, riding bikes somewhere in a hurry, playing dress up with Frankenstein’s creature, writing a letter in crayon to the “army guys” to “come quik” cause “there are monsters,” making silver bullets and also business cards, consulting maps, and stealing archery equipment – the kids all get ready in their own way. This was a movie that I loved well before I was actually into horror (I saw it in the cinema when I was nine and I remember coming out at the end just so stoked – ready, myself to fight the forces of darkness). Generally I think it holds up as one of the essential ‘kids vs monsters’ flicks, though it hasn’t been one that I revisit often as an adult, and this has got to be one of the all-time-great 80s ‘preparation montages’. Even if I don’t often watch it, the movie will always hold a special place in my heart – it’s just a shame that it features some homophobic slurs, and that really hasn’t aged well (sure, it’s how kids really talked – and probably still do – on the playground, but it’s still a turn off).

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And there we have it – ten more great horror songs. It’s interesting to me how many of them are dancey disco tunes or seventies rock grooves – not something I expected when I first sat down to brainstorm what I wanted to include in this list. It is a specific sound, and one not always associated with horror, but all of these immediately give me a taste of the genre, if not instant associations with some specific horror work.  May they keep you bopping through the night as well.