Horror

May

Writer/Director: Lucky McKee | Released: 2002 | Rated: R

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I first saw May shortly after it was released in 2002 and was immediately struck then (as I am again and again when rewatching it) by the intimacy of the film; a viewing element especially intriguing because the entire film is about the struggles of intimacy. It's these "struggles of intimacy" the timid and adorkable (can I say that?) May, a talented veterinarian assistant by day and exquisitely talented seamstress by night, experiences as she embarks on her first attempt in the dating field.

After growing up in an emotionally stifling household and with a superbly creepy doll as her only friend, May is now a young woman and a walking talking example of bumbling attempts at relationships. She is unintentionally hilarious and you’ll happily soak in the Schadenfreude fun. However, things begin to turn sour as the remaining semblance of her healthy intercommunication buttons begin to malfunction...

In conjunction with May’s badass designing skills, so is the film’s badass acting, writing, cinematography, score, and super smart development of the story’s explorations into the wonders of the heart and mind. In short, I simply cannot express in enough words or ways how much I love this film [blushes, fumbles, drops May fan letter into a puddle, pushes glasses back up], but I’m going to keep trying anyway [bites lip].

May is a wonderfully morbid comedy that sneaks into a classic horror spin of the serious, and an honest look into loneliness, frustration, and heartbreak. This film is dingy, clingy, shiny, grimy, sweet, sour, and basically has so many visual and emotional textures you just might need a great big hug or a long hot shower afterwards (or both).


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Bring on the Cringe Binge!

May is a stellar film and one sure to be enjoyed by horror fans who appreciate goretastic dark humor stitched together nicely with serious subject matter. I give a standing ovation and awkward, but excited wave to all who helped to create this wonderful work of art.

This film pairs with the smell of freshly cut fabric, stale cigarette smoke, a popular perfume or cologne from the ‘90s that you still love you but feel you can’t tell anyone about, a couple of brewskies, and your favorite dessert.

Check out the official trailer for May.


Jolie lives in Seattle with her artist husband, two cats, and created her blog, Horror Habit, to keep her out of trouble (which has sorta worked). @HorrorHabitBlog

Holidays (2016)

 
 

Horror anthologies have always had a special place in my heart and seemed to make a big comeback with films like ABC’s of Death (2012) and V/H/S (2012). Since then we’ve gotten to see directors, big and small, come together and create some really fun horror tales that otherwise might not have been given the chance to see a feature-length treatment. Over the last year alone we’ve seen holiday-centric anthology films with Tales of Halloween (2015) and A Christmas Horror Story (2015) -- I didn’t forget the wonderfully gory Trick ‘r Treat (2007) but, for the sake of this review, I’m only going off of the last year. This year, a handful of directors in horror decided to come together and create an anthology that covered the majority of the major holidays in the calendar year (but also left out some important ones, as well - but we’ll talk about that later.)

Let's just jump right in, shall we?

Valentine's Day - written & directed by Kevin Kolsch & Dennis Widmyer

Probably one of the least memorable segments for me, Valentine's Day follows Maxine (Madeleine Coghlan), who is relentlessly bullied by mean-girl, Heidi (Savannah Kennick). Her bizarre crush on her swim coach, who happens to be in need of a heart transplant, gives her the push she needs to prove just how much she loves him. It’s completely predictable and unfortunately, it felt like Kolsch and Widmyer didn’t even try on this one. It’s a story we have definitely seen before - the 80’s synth-driven music, the mean girl bullying the meek, quiet girl until she eventually snaps...this isn’t a horror fan’s first rodeo.

St. Patrick’s Day - written & directed by Gary Shore

Elizabeth Cullen (Ruth Bradley) is a school teacher who wishes for nothing more than to have a child of her own. Unbeknownst to her, the quiet, redheaded little girl who refuses to smile will end up making that wish come true - it just might not be exactly what she planned. One of the only humorous segments in the film, this one didn’t take itself seriously at all. By the final minutes, everything was so bonkers and nonsensical that it wasn’t even enjoyable for me and teetered near "WTF" territory.

Easter - written & directed by Nicholas McCarthy

As a young girl is tucked into bed the night before Easter, her mother tells her all children must be fast asleep before the Easter Bunny can come and leave goodies. What worries the girl, though, is the man named Jesus who is supposed to come back from the dead as well. Naturally, she wakes up in the middle of the night and comes face-to-face with something that no child has ever seen before -- and she’s going to pay for it. This segment was the first of several in this film that ended right when the good stuff was happening, unfortunately. It was actually pretty creepy and didn’t do any favors for my Easter Bunny phobia.

Mother’s Day - written & directed by Sarah Adina Smith

Kate (Sophie Traub) has a problem; she gets pregnant every time she has sex. Her doctor suggests she attend a fertility ceremony in the high desert, run by the doctor’s sister. I think we know where this one is going to go…
This was another segment that, despite having a really cool concept, was hindered by an abrupt ending. Some backstory to the women running the ceremonies would have been a nice touch, as well.

Father’s Day - written & directed by Anthony Scott Burns

Carol (Jocelin Donahue) receives a package containing a tape player and a cassette from her deceased father. Recorded years prior, when she was a little girl, her father leaves her directions to a place where she can find him as he’s been waiting for her ever since. One of my favorite segments, it’s a bit heartbreaking. With hardly any dialogue from Donahue, the father’s voice heard through the tape player lends an eerie and dread-filled vibe, amplified by the fact we have no idea where he’s leading her. There were a lot of components that came together in the short amount of time, which made this such a well-done segment. My only gripe is it suffers from another abrupt ending with little to no real answers.

Halloween - written & directed by Kevin Smith

Ian (Harley Morenstein) runs a webcam house where he basically pimps out girls for online sex shows - and he’s a bit of a dickhead. The three girls he “employs” (one played by Smith’s daughter, Harley Quinn Smith) finally decide they’ve had enough of his shit. This was probably the least holiday-themed segment of the entire film. There wasn’t much more than a few background pieces to suggest what time of year it was. As a horror fan, I was pretty bummed about that. We all love Halloween, we expect it to be treated better than that. It did have potential and alllmost seemed like it was going to go in one direction but then tossed that aside and went for a safer bet.

Christmas - written & directed by Scott Stewart

Pete (Seth Green) goes to the extreme to get his son the virtual reality glasses he so desperately wants. The glasses claim to “show you YOU!” What Pete doesn’t realize is that the glasses are serious, and his actions to get the gift come back to haunt him. It’s another one of the shorter and more forgettable segments. It was a cool concept but needed to be fleshed out a bit more. I won’t spoil anything but the segment would have fared better had they shown it from the wife’s perspective.

New Year’s Eve - written by Kevin Kolsch & Dennis Widmyer - directed by Adam Egypt Mortimer

Reggie (Andrew Bowen) is an obsessive killer who winds up on a date with Jean (Lorenza Izzo) after getting a 96% match on a dating site. Though we can only guess what his intentions for her will be, he finds out that hers are much worse, when she brings him back to her apartment. Decidedly better than most of the segments, this is another one that could have benefitted from a couple of extra minutes spent on some backstory. I also am going to need Izzo to play more crazy-lady roles (except Knock, Knock. That was bad.) Oh, and Andrew Bowen, I need him in more horror movies, please.

Overall, Holidays seemed to miss the mark more than not. The segments were quick and to the point for the most part, which was actually a downfall for the majority of them - and I’m annoyed that there was no Thanksgiving segment! Please don’t leave us with Thankskilling for another year! Complaints aside, the score was kickass and the cast, as a whole, was pretty good. I won’t tell you to skip out on Holidays, but I won’t be mad at you if you take your time on giving this one a watch.

~ Stacey-Beth (@TheStaceyBeth)

Stacey was the creepy kid growing up who would bring VHS copies from the video store of Prince of Darkness and Zombie to her sleepovers. Now she's the creepy adult that brings blu-ray copies of Prince of Darkness and Zombie to dinner parties. Fascinated by all things macabre - if it involves the occult and/or true crime, she's in. Currently living in the Hill Country of Texas with her ferocious Yorkie and her husband, she also runs her own horror blog, To Avoid Fainting, where she mostly tries to sound like she knows what she's talking about, while watching scary movies.

Memory of the Dead (2013) Rated R

Director: Valentin Javier Diment
Writers: Martin Blousson, Valentin Javier Diment, Nicanor Loreti, German Val


While recently visiting the local library, I decided to take a quick peek at the movie section, see if there were any horror movie surprises waiting to be discovered. There was. My introduction to Argentinean horror: Memory of the Dead.

What I was expecting: Gore gore gore galore. Maybe even a little something along the lines of giallo horror.

What I got: A twisted, gortastic spookfest with a delightfully disturbing and perverted take on giallo horror.

IMDB is telling me that this is a comedy-horror. I wouldn't go so far as to say there is comedy here. I never really laughed. There were just a few times where I smiled uncomfortably for a few seconds and then waited expectantly for something terrible to happen.

The story opens with a grieving wife who gathers her husband's best friends over to their mansion for a memorial service. The love poured out here is tear-jerking, to say the least. There are dedications said that will likely bring on some buckets of happy/sad tears.

And yet, and yet...something is not right. Something is terribly wrong. Just as you are wiping away the tear remnants, you are promptly catapulted into a surreal night terror of epic proportions. I use the word "catapulted" specifically because that is exactly how it felt. The movie begins and continues with no explanation. It just moves fast, furious, and takes no prisoners.

The first half of the story takes place inside the mansion. Viewers are provided with the false allusion that all the angry ghosts, hungry ghouls, never-ending darkness, and all-consuming madness are outside. The second half moves inside - into each of the individual guests' greatest fears - fears that also happen to come to life and be littered throughout the menacing mansion.

The majority of the movie plays out like a cold-sweat nightmare with few answers as to why. Don't worry! Answers will come in the last few minutes of the film.

Like giallo horror, Memory of the Dead, is visually stunning. It is also jam-packed with mystery and murder. Of course there is also sex. No good sex; e.g., rape, incest. Viewer discretion is advised. That said, I'm happy to report that these scenes, albeit striking, are scarce.

Derogatory slurs are thrown around, people are absolutely brutal to each other, blood and guts EVERYWHERE, monsters, witchcraft, and crippling, crippling love. Because don't forget! This movie is also a love story.

I enjoyed this film for its visuals, creativity, the unfolding of each character, and for the rather brilliant twist at the end. A must see for fans of supernatural horror, Latin horror, and of course anyone looking for an absolute gore fest.

This film should be seen in a small group of your closest friends. If someone is harboring a nasty secret, all the better. Pairs with wine, a little whiskey, a big bowl of pomegranates and mangos, steaks (rare), and if you can get your hands on some home-made empanadas with a mystery filling, even better.

Jolie
@HorrorHabitBlog

One of the newest contributors to The Bloodlust website, horror movies have always played a significant role in Jolie's life. Since her introduction to Gremilns at the tender age of 5, growing up with four horror movie-loving brothers - all who managed to memorized the entire script of John Carpenter's The Thing at a young age - and a father who still delights in frightening them all at the dinner table with scary stories, it's safe to say watching horror movies is, in essence, her comfort food. A research health scientist for the government by day and a devotee to horror movies (particularly ghost and werewolf stories) by night, Jolie lives in Seattle with her artist husband, two cats, and created her blog, Horror Habit, to keep her out of trouble.

Teeth

 

 

2007 / R

Director: Mitchell Lichtenstein

Writer: Mitchell Lichtenstein

Stars: Jess Weixler, John Hensley, Lenny von Dohlen

 

Since we don’t know each other very well, here’s a little tidbit of info about me: I’m sort of weird about teeth. I’ve had countless number of dreams about my teeth either breaking, shattering, crumbling, or just simply falling out. I have since learned these dreams are common and are typically associated with stress or anxiety. Whatever the meaning, I don’t really care – they’re horrible and we hates them. Suffice it to say, my frequent teeth-related dreams result in my discomfort during movie scenes involving similar imagery. Blood? Guts? Decapitations? You name it, I can watch it without a problem. Teeth, however? I’ll audibly voice my disgust and horror.

So with that out of the way…Teeth. You may be thinking, “but, Jamie, if you’re so grossed out by teeth stuff, why would you decide to watch a movie called Teeth?” That’s a great question and I thank you for asking. Part of being a lover of horror movies and all things horror means there’s a sick part of my psyche that enjoys being made to feel uncomfortable or grossed out. That’s just part of who I am. Plus, the synopsis of this movie intrigued me enough to want to watch it. I mean…really, a pro-abstinence, teenage girl learns she has been gifted with vagina dentata, allowing her to immediately and severely punish any uninvited peens or fingers?? What about that description doesn’t make one think this could be a clever and enjoyable satire?

That is not a sausage in the dog's mouth...

That is not a sausage in the dog's mouth...

As it turns out, I was mostly wrong and this was not really that clever and enjoyable of a movie, though it wasn't horrible. For those who are unawares, vagina dentata (Latin for “toothed vagina”) is a folk tale theme found in a handful of cultures. In Teeth, the main character, Dawn (played by Jess Weixler), is a happy teenager, committed to staying chaste until marriage (she’s even the leader of her school’s abstinence group). Like most of her teenage classmates, she is trying to cope with her newfound sexuality and uncooperative hormones. Unlike most of her teenage classmates, however, Dawn has razor-sharp teeth hidden within her lady-business. She eventually learns she is able to control her “adaptation”, but not until she renders at least one classmate (and attempted rapist) peenless. The rest of the movie follows Dawn on her road to sexual self-discovery, which, inevitably, means more severed wangs.

I can’t honestly say this movie was wholly terrible. Its one shining “pro” for me was the acting by Jess Weixler. I thought she was great as the lead, really exemplifying the cute yet complicated virgin that all the boys want. She had to work with a pretty uncomplicated character while basically pulling off being the focus of the entire movie and I think she did a bang-up job. Actually, I rather liked the entire cast. Jess’ dad, Bill, is played by Lenny von Dohlen (Harold Smith from Twin Peaks), and her repulsive step-brother, Brad, is played by John Hensley (Matt McNamara from Nip/Tuck). This movie seemed to have a few things going really well for it, but it just didn’t successfully pull it all together for me. Ultimately, it’s a neat concept, I just really wish they’d have done more to explore it or at least make it more interesting. It won’t satisfy if you’re looking for real horror; there’s no suspense or feeling of dread. But if you’re in the market for a dull, semi-campy, fairly gory satire about teenagers, abstinence, sex, and vagina teeth, then this should be the next movie you watch.

 

Three random, disgusting facts having to do with teeth:

  • In very rare instances, teeth may actually grow in a vagina. They’re called Dermoid Cysts. The cells that make up these cysts are able to mature into teeth, bones, or hair.

  • In 2014, Ashik Gavai of Mumbai, had 232 denticles (abnormal, teeth-like growths) removed from his mouth. They were caused by a benign dental tumor.

  • Also in 2014, another kid in India had 200 of these denticles removed from her mouth.

Lyle

2014 / NR

Director: Stewart Thorndike

Writer: Stewart Thorndike

Stars: Gaby Hoffman, Kim Allen, Ashlie Atkinson
 


*This review contains some mild spoilers throughout.

Lyle has been described by its director, Stewart Thorndike (born Megan Stewart Thorndike), as “Rosemary’s Baby with lesbians.” The comparison is apt – the film follows many of the same beats as the Polanski classic, compressed to a taut 65 minutes – but the perspective is its own, and a wholly modern one at that. Shot in a mere five days on a shoestring budget, the film takes a stylish, bare bones approach to exposing both the horror and power of motherhood.

The film opens with Leah (the always impressive Gaby Hoffmann) and June (Ingrid Jungermann) walking through a spacious townhouse with the landlady, Karen (Rebecca Street). Leah can’t seem to believe their luck – the house is far better than what she thought they could afford – and in her happiness she admits to Karen that she’s pregnant for her second time with another girl (the first being the titular daughter Lyle), something she hadn’t even divulged yet to June. Strangely, June absorbs the news stone faced, and grimly says they’ll take the house.

Soon after moving in, Leah Skypes with a friend and laments her feelings that June seems to be growing distant from her and Lyle. While Leah is talking, Lyle wanders off screen, and so we only hear the tragic, guttural cries as Leah discovers that the toddler has fallen from an open window to her death. The scene is just the first example of Thorndike’s restrained, unsettling brand of horror, and a glimpse of things to come.

From there, the film follows a narrative deceptively similar to Rosemary’s Baby – as Leah’s second pregnancy progresses, she grows increasingly paranoid that someone is trying to harm her baby, though she can’t explain why. The person she suspects of being behind the nebulous plot is the peculiar landlady (reminiscent of Rosemary’s odd, busybody neighbors), an older woman obsessed with babies, who inexplicably claims to be pregnant during Leah’s time in the building.

What makes Lyle most interesting, though, is the often-subtle ways it deviates from its source material. Although June is aggravatingly similar to Rosemary’s husband in her apathy regarding Leah’s concerns – she’s too busy with her blossoming career to worry about Leah’s spiraling mental health – the playing field is a bit more level this time around. Evidence of Leah’s autonomy abounds, including the setup of a birth pool in the couple’s living room. The couple sees a therapist together in order to handle their grief over losing Lyle, and when the therapist suggests that Leah take medication to alleviate her anxiety, the couple presents a united front in declining. Furthermore, that refusal is accepted and taken in stride by the (also female) therapist, who is willing to explore other options.

This all stands in stark contrast to the paternalistic way everyone in Rosemary’s life treated her, from her husband to her doctor. When Rosemary complained of pain during pregnancy – to a doctor her husband insisted she see, against her own wishes – the doctor waved it off, without bothering to provide an explanation or care. When Rosemary finally voiced her fears to another doctor, he called her husband and threatened to put her in a mental institution, the specter of “hysteria” looming tall over all diagnoses of women’s ailments. Although things have not changed entirely, Leah’s worries are not so readily brushed off (except by June, whose motives are clear from the beginning). Other people in her life are at least willing to listen and discuss Leah’s fears, a habit totally absent from Rosemary’s world.

Most notably, though, Hoffmann’s Leah is an entirely different character than Farrow’s Rosemary: while Rosemary was meek and fragile (traits largely forced upon her and encouraged by society), Leah is a much more independent force to be reckoned with. Unfortunately for her, she still has to deal with a gaslighting partner intent on making her doubt herself, but Leah’s instincts are strong, and she is strong enough to follow them to the brink. The climactic scene is breathtaking in both its force and terror.

Lyle is perhaps a bit too short to delve as fully or satisfyingly into these themes as it could, but it is a delightfully dark, smart film nonetheless. In the end, it is revealed that June’s pact with the devil deviates from the one in Rosemary’s Baby on one important point – in lieu of a male child, June is forced to give up two female children in exchange for success. Seems like there’s a barb in there somewhere about women and equality, doesn’t it?

Claire Holland is a freelance writer and author of Razor Apple, a blog devoted to horror movies and horror culture with a feminist bent. You can follow her on twitter @ClaireCWrites.