horror

Motion Stopocalypse

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One of the bigger trends of the 2022 movie calendar was the prominence of stop-motion animation as a medium.  Netflix’s cheeky horror anthology The House was the first Great film of the year, and that early stop-motion triumph rolled into the wide, acclaimed release of so much direct competition that it now feels distant & puny in retrospect.  Rolling into awards season, Marcel the Shell with Shoes On and Guillermo del Toro’s Pinocchio are formidable contenders for best animated film of the year against the more typical Disney-funded CG mediocrities that have earned that prize by default since Toy Story put Pixar on the map.  And then there was Phil Tippet’s magnum opus horror show Mad God, which pushed the stop-motion medium to the outer limits of what animated cinema can achieve.  Usually, I’m on top of all stop-motion feature films as soon as they’re released, but this year offered so many varied, prominent titles in that category that I let a couple slip through my fingers until now.  Neither The Old Man Movie nor Wendell & Wild completely blew my mind as I caught up with them for Best of the Year listmaking season, but that was mostly a result of them joining such an already crowded field.  In a more typical year, these would have been the only two stop-motion releases of note, and I likely would have been much more ravenous for what they have to offer.

The more disappointing title of this late-entry pair is Wendell & Wild, since it’s the one with the highest pedigree behind its production.  Not only does it reunite the iconic comedy duo Key & Peele as a pair of wisecracking demons, but it’s also the comeback film of legendary stop-motion animator Henry Selick, who has not directed a film since 2009’s Coraline.  As a recently converted Monkeybone apologist, it brings me no pleasure to report that Wendell & Wild is, by far, Henry Selick’s worst film to date.  The good news is that it’s still pretty great, as long as you only pay attention to its mall goth art design & vintage Black punk soundtrack.  Story wise, the film is a sprawling, unresolved mess in a way a lot of blank-check Netflix productions have been for directors like Scorsese, Baumbach, Fincher, and The Coens, who have been putting in some of their career-weakest work on the platform with no one to push back on or hone their ideas.  Out of the pair, Netflix was smart to give del Toro’s Pinocchio the bigger Oscars Campaign—it is the better film—but it’s also far from del Toro’s best work either.  If anything, the two films could have borrowed and swapped a lot of their shakier qualities: Wendell & Wild should have been a punk rock musical, since its charms rely entirely on its soundtrack & visual spectacle, and Pinocchio should not have been a musical at all, since its entire songbook is limp & forgettable.  They’re both decently entertaining movies about rebellious youth, though, with Wendell & Wild falling somewhere at the Hot Topic end of that spectrum.

If the story of a high school punk rocker teaming with a pair of wisecracking demons to resurrect her dead parents with magical hair cream (and to avenge the wrongful deaths of the family’s condemned root beer factory while they’re at it) is a little overly complicated, maybe The Old Man Movie has a leg up on Wendell & Wild.  In The Old Man Movie, three siblings have to recapture & milk their grandfather’s escaped cow before its udder explodes, nuking their entire village in a milky “lactocalypse”.  Those are pretty clear, cut-and-dry stakes even if they are ridiculous ones, and the movie even provides a helpful 24-hour deadline before that udder catastrophe strikes.  The Old Man Movie also enjoys the benefit of nonexistent expectations. Henry Selick’s previous films Coraline, The Nightmare Before Christmas, and James and the Giant Peach rank highly among the most beloved stop-motion films of all time.  By contrast, The Old Man Movie is the most profitable animated film ever exported from Estonia, but it’s likely most audiences outside that country have never heard of it.  That might hint at its comparatively limited appeal, since Selick makes mildly spooky movies that are still friendly enough for children, while The Old Man Movie looks like it was made for children but would likely psychologically scar any who wander into the room.  It performs the shrill gross-out humor of Ren & Stimpy in the once-wholesome visual language of Wallace & Grommet.  It’s teeming with grotesque milk monsters, mile-high piles of pig shit, and unstoppable killer kratts – pushing it more into Phil Tippet nightmare territory than Henry Selick’s goth kid starter packs.

Some of The Old Man Movie‘s one-off gags offend, especially when it singles out hippies & women as targets for mockery.  Other gags deliver enormous laughs that make the eyerolls worthwhile, especially in its visible disgust for the gnarlier details of daily farm work.  While Wendell & Wild pushes the boundaries of stop-motion as an artform into the technological marvel territory of a Laika film, The Old Man Movie scales it back down to a handmade claymation style that feels a little like serial killer bedroom art.  It was refreshing to see a film so volatile in its moods & humor after the more cumbersome, plot-fixated machinations of Wendell & Wild felt so weighed down by its own enormity.  That’s not to say Wendell & Wild isn’t shocking or over-the-top in its own ways; it’s especially bold to see a children’s film about a rebellious youth’s team-up with demons get a major-platform release in a year when online Evangelicals are obsessed with the ways Satan is “grooming” children into cannibalism & debauchery through “hidden” messages in popular media.  What’s most incredible, though, is that neither The Old Man Movie nor Wendell & Wild qualify as the wildest, most outrageous stop-motion release of the year – a title that has a shocking amount of competition (and still belongs to Mad God).  There has been enough of a wealth of anarchic, ambitious stop-motion feature films that I can be a little bratty and brush both of these movies off into the “Pretty Good” pile instead of the “Saviors of Modem Animation Pile.”  I want to live in a world where I’m this spoiled every year.

-Brandon Ledet

All Jacked Up and Full of Worms (2022)

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Does sincerity have no place in low-budget genre trash these days?  Must all of our D.I.Y. practical-gore freakouts be buried under mile-high layers of ironic detachment and nostalgia for decades of horrors past?  I was really hoping the low-budget, psychedelic gore fest All Jacked Up and Full of Worms would live up to the gruesome glory of its title, and in some ways I guess it does.  It’s impressively revolting filth in fits & jabs, at least when it’s leaning into the visceral disgust of its wriggling worm imagery – which ranges from real-life worms squirming in cigarette ashtrays to gigantic, intestine-length latex monstrosities stretching across warehouse-scale movie studio voids.  It’s too bad all of that effort is undercut by its juvenile edgelord humor, though, as shock value topics like needle drugs, Satanic worship, and pedophilia are frequently mined for cheap, empty punchlines.  When you see a “Special Worm Effects By” credit in the opening scroll, you’re prepared for a Screaming Mad George-style descent into Hellish, surrealistic gore.  Instead, you get a movie custom made for middle schoolers to prank each other with as a sleepover dare.

Like this year’s much more sincere gross-out horror Swallowed, All Jacked Up is set in a fictional world where consuming worms—either orally or nasally in this case—creates a powerful psychedelic trip akin to an acid overdose.  These are just regular, everyday worms, as far as the audience can tell – a conceit that’s underlined by the repetition of the word “worms” in every single line of dialogue.  As it’s explained by a worms enthusiast, “There’s only one wrong way to do worms, man […] Not do worms!”  This is a pure drug-trip movie, with several loosely connected characters becoming increasingly manic under the worms’ influence.  I’d recount their exploits here if they were worth repeating, but they’re mostly just an improv comedy assemblage of self-amused bits that don’t translate outside the troupe.  The worm imagery is frequent & remarkably grotesque, but so are the purposeless, off-topic jokes about sexually assaulting babies.  Maybe it’s a matter of personal taste (or tastelessness), but I just wonder how much further this movie could push its discomforts if it were a sincere low-budget horror instead of an irony-poisoned horror comedy.

Anyway, if you really want to watch a retro, VHS-warped gross-out that’s overflowing with worms, you might as well watch the 1976 Tubi mainstay Squirm instead.  It’s not an especially great film either, but it’s at least a genuine one.  All Jacked Up and Full of Worms is a distinctly modern echo of that era’s pure-schlock filmmaking, mimicking long-outdated surface aesthetics instead of seeking genuine, of-the-moment terror.  It’s likely unfair of me to pin it under the full weight of modern horror’s weakness for ironic detachment & retro aesthetic worship, but it was also unfair of the movie to make me sit through so many schoolyard jokes about baby rape, so let’s call it even.

-Brandon Ledet

Lagniappe Podcast: The Company of Wolves (1984)

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For this lagniappe episode of the podcast, Boomer, Brandon, and Alli continue their celebration of Angela Lansbury by discussing the coming-of-age werewolf anthology horror The Company of Wolves (1984).

00:00 Welcome

00:55 Knife+Heart (2018)
03:52 The Menu (2022)
05:00 Marcel the Shell with Shoes On (2022)
08:20 Andor
09:58 Weird (2022)
13:50 Fire of Love (2022)
16:10 Barbarian (2022)
17:25 Fifty Shades
20:07 Do Revenge (2022)
22:14 Don’t Worry Darling (2022)
25:25 Bones and All (2022)
29:10 The Eternal Daughter (2022)

32:48 The Company of Wolves (1984)

You can stay up to date with our podcast through SoundCloud, Spotify, iTunes, Stitcher, TuneIn, or by following the links on this page.

-The Lagniappe Podcast Crew

Bones and All (2022)

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The timing of Bones and All’s theatrical run is indicative of how slight signifiers in a film’s marketing strategy can greatly change its public perception.  Released a month earlier, this young-cannibals-in-love road trip story would’ve been treated as a major studio Horror Film, falling somewhere between the somber-epic mythmaking of Doctor Sleep and the teen heartthrob pop-horror of The Twilight Saga.  By holding it off until November, MGM was able to position the film as a prestigious Awards Contender instead – something that loses money in the short-term, then hopefully buys the studio a couple golden statues months down the line.  As a result, I’ve been seeing a lot of grossed-out responses from audiences who were expecting Bones and All to be more of a straightforward road trip love story, repulsed by its most shocking moments of blood-guzzling, flesh-chewing violence.  As someone who twiddles their thumbs for most of the stretch between Halloween & January Dumping Season on the film release calendar, I’m coming from the opposite direction, wishing Bones and All weren’t so tenderly underplayed & remorseful about its hunger pangs for gore.  It’s kinda nice to have something that drifts between those two magnetic pulls, though, especially since it’s so unusual to see a Near Dark-style genre blender treated as a genuine threat to Award Season’s more traditional biopics & historical weepies.  The exact same cut of this movie would not have had that fighting chance if released in October instead of November, which is exactly how silly & arbitrary this entire “Best of the Year” selection process is on an industry-wide scale.

I was amused to see Bones and All‘s dual nature as a somber, awardsy drama and a viciously violent cannibal movie reflected in the casting of its two leads.  Certainly, the Oscar nominated Tiger Beat heartthrob Timothée Chalamet is the film’s biggest draw, as it relies heavily on his twinky dirtbag charms as history’s scrawniest leading man.  As a genre-trash connoisseur, though, I was most excited to see Escape Room‘s Taylor Russell get her due as the film’s front-and-center protagonist, as she’s a far more powerful emotional anchor than that high-concept, low-execution horror franchise likely deserves.  Here, Russell headlines a coming-of-age story for a teen girl in rural 1980s America who’s going through an unexpected Raw phase: channeling her newfound adult instincts & urges into sudden acts of cannibalism.  Abandoned by her family, she seeks a home & a self-assured identity on the road, where her natural scent as “an eater” is frequently clocked by fellow cannibals.  Against the odds, she hooks up with Chalamet’s fellow loner eater and makes a small, manageable place for herself in the world where she can live without pain & guilt.  Only, no matter how much she personally heals from her traumatic past, it has a way of creeping back in to ruin her progress – mostly through the villainous presence of Mark Rylance as an old-timey hobo (doing his best Rose the Hat).  Bones and All is equally balanced as an understated road trip drama about pained personal healing and an eerie supernatural horror about the wounded souls & vicious monsters at the fringes of American rot.  Which version of the film you see in that Rorschach test-in-motion is a matter of personal disposition and might even change from scene to scene.

I reacted to this movie the same way I’ve reacted to every Luca Guadagnino picture I’ve seen: sustained appreciation without total elation.  Guadagnino consistently makes good movies—never great ones—precisely because of his tendency for dramatic restraint.  With his two outright horror films (the other being his 2018 Suspriria “remake”), you can feel him actively fighting that impulse, reaching into the depths of Hell for transcendence & catharsis instead of his usual grounded frustrations & melancholy.  Bones and All digs as far down as it can into the mud, blood, bone shards, buzzing flies, and ash of its underground-cannibal America, but it still feels self-consciously reserved & tethered to reality – recalling the authenticity-obsessed docudrama of American Honey more than the horned-up ferocity of Trouble Every Day.  The doomed lovers of Bones and All never fully give in to the transcendent pleasures of their grotesque hunger.  The hellish pool party of A Bigger Splash never fully devolves into the blood-soaked, poolside orgy it threatens to be.  Armie Hammer never bites into that cum-filled peach.  For a lot of audiences, that restrained approach to over-the-top genre tropes is what makes Guadagnino great; it’s what makes Bones and All a sincere Awards Contender, unlike other artfully grotesque horrors of the year like Mad God, Flux Gourmet, and Men.  For me, it’s what keeps his work from ever fully accessing the cathartic release those tropes tap into, an approach that feels more timid than admirable.  It’s apparently what gets you in the door to compete with The Fabelmans instead of Barbarian, though, so what do I know?

-Brandon Ledet

The Menu (2022)

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A few weeks ago, YouTube recommended a recent video essay for me entitled “rage & revenge: the birth of a new genre” [capitalization sic], created by Rowan Ellis. Apparently, it’s now a major part of The Discourse to consider recent films about women taking revenge as a genre unto itself, using the famous “good for her” quote from Lucille Bluth as its title.  I’m not sure about the need for this specific taxonomic declension, but I can also tell you right now that most of the films that fall into that basket are ones that I already love, and the overlap in the Venn diagram between the films which are commonly identified using this term and my oft-cited love for “women on the verge” pictures is the shape of the moon a couple of days prior to being full. I’d even say that many of them overlap between the two subgenres, notably mother!, Midsommar, Promising Young Woman, and even Knives Out! and Ready or Not. It was the last two of these that was at the forefront of my mind every time I saw the trailer for The Menu, as the advertisement included certain specific details that were very similar: the woman out of place among the narcissistic rich elites who finds their decadence alienating, and that her specific presence as a member of a class that was unlike theirs would be the key to her success. The movie is … not quite that, but it still qualifies. 

Hawthorne is an exclusive offshore restaurant situated on a private island and operated by celebrity chef Julian Slowick (Ralph Fiennes). Each evening, a cohort of twelve wealthy diners is shuttled to the island for a multi-course dinner, nearly all courses of which are informed by every little pretension of molecular gastronomy you’ve seen hyped and mocked on the internet and in sitcoms since the 1990s. One attendee, a food critic, is even said to have been the person who “basically discovered” slow eggs, which automatically made me flashback to a nearly five-year-old NYT piece about chef Alice Waters and her practice of cooking a single egg over a fire in a long cast iron spoon, the memory of which comes to mind unbidden about once a month, although rarely through so direct an association. Our viewpoint character on all of this is Margot (Anya Taylor-Joy), who is accompanying snobby foodie Tyler (Nicholas Hoult) to the restaurant on his dime; we’re immediately introduced to his fanboy idolization of Slowick in his first few moments, and his endless stream of prattle about gourmand nonsense and food science is breathless not because of his awe or wonder but because of its businesslike efficiency. He seems like exactly the kind of man who peacocks by taking a woman to a ludicrously expensive restaurant and explaining every little detail in a rehearsed speech as part of a mating ritual, not for any real love of foodcraft. 

Rounding out the night’s guests are: a wealthy couple, Richard (Reed Birney) and Anne (Judith Light, who I was delighted to see), who have eaten at Hawthorne over a dozen times; Lillian (Janet McTeer), a well-acted caricature of every food critic character you’ve ever seen on screen, and her editor Ted (Paul Adelstein); fading star George Diaz (John Leguizamo) and his girlfriend/assistant Felicity (Aimee Carrero); and a trio of tech bro worms (Arturo Castro, Rob Yang, and Mark St. Cyr) who boast to one another about their infidelities, off shore accounts, and general shittiness. Upon arrival, there is a heated discussion between Tyler and the maitre d’ Elsa (Hong Chau, who steals every scene that she’s in) regarding the fact that Margot is not his guest of record, but she is allowed to stay, despite her apathy about the situation. Elsa gives the diners a tour, which includes their poultry coops, meat smokehouse, and even the dorms in which the staff who work under Slowick reside, which looks more like a prison than anything else, down to an exposed toilet and shower in the same large room in which they all sleep in barracks. At the restaurant proper, dinner commences and Slowick introduces each course by clapping his hands loudly, which results in his staff dropping what they are doing and coming to military attention like the most well-behaved cooking reality show contestants on earth, at which point he gives a speech about the materiel being presented and its connection to some part of his past (and later, the pasts of some of his other high-ranking chefs). This starts out innocently enough with a sort of microcosm of an ocean ecosystem on a plate, then gets more provocative with a “lack of bread” course that includes several sauces for dipping but no actual bread, and then only becomes more dangerous from there. 

The touch of the darkly comic fluctuates in its efficacy here. There are many lines that are laugh-out-loud funny, and others that are witty little observations about how people who all think that they’re the main character simply because of their wealth or power must prop themselves up by being the most annoying person in the room. Diaz attempts to ingratiate himself with the tech boys because he wants to convince himself that he’s still cool; Lillian’s running commentary on the food isn’t just for the benefit of herself and her editor but is also clearly projected so that even amongst the hubbub of the evening her comments on the broken emulsion of a particular sauce is still heard by the staff, who present her with a full bowl of the broken sauce. Tyler takes pictures of his food despite that being explicitly forbidden at the start of the evening, and Ted simply plays sycophant to whatever Lillian says, often completely reversing course on a statement in the middle when Lillian objects with an opposing opinion. It elucidates each diner in a way that’s efficient without feeling utilitarian while also planting little character morsels for you to recall and smile—although presumably not laugh—when they cross your mind. Margot’s cunning bon mots are fun, but they don’t stick to your ribs in quite the way that they ought. Of course, sitting in a cinema where the jokes aren’t landing with other people can also artifically dampen that feeling, as there are certain things that made me chuckle audibly but to which no one else reacted, so that could be while I’m feeling less than satiated by this particular meal. It’s not bad, I’m just still hungry (ok, I’ll stop). I’m just hesitant to say more because I wouldn’t want to spoil you, or your appetite (ok, that was the last one, I promise). 

I don’t think that this would actually fall into the Good For Her genre. The ending is fun and functional, and although I would go so far as to say it borders on exhilarating, I wouldn’t call it cathartic. It’s not merely enough that assholes get their comeuppance for the film to qualify (if it did, this would make the cut), it’s that our Final Girl has to have actually performed some kind of rampage, and that just doesn’t happen here. It’s more a cold and calculated game of riddles between the staff and the diners with Margot falling somewhere in the middle, having to find the line between the ones who take and the ones who give and straddle it in order to survive. I’ll leave it at that, but if you’re a knowledge sponge with a functionally adult attention span like I am, then I’d recommend checking out Tara Heimberger’s thesis on the subject, “Female Rage, Revenge, and Catharsis,” here. This was a movie that will play as well for you as a rental once it’s available on demand as it does on the big screen, gorgeous island vistas aside, so I recommend it, maybe paired with a five-course dinner. 

-Mark “Boomer” Redmond

Nanny (2022)

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In Nikyatu Jusu’s debut feature Nanny, a Senegalese domestic worker struggles to maintain her sanity while caring for the white child of a wealthy NYC family and scraping together money to emigrate her own son to her new home.  It’s essentially an atmospheric horror update to Ousmane Sembène’s Black Girl, the second one I’ve seen this year after the South African apartheid horror Good Madam.  I personally preferred Good Madam, but Nanny earned better reviews and the Grand Jury Prize at Sundance, so I’m out of sync with the consensus.  I suspect that’s because Nanny is less of a proper Horror Movie, landing the same accolades as an important “social thriller” that Get Out earned outside of horror circles in 2017 (in a way no other Blumhouse productions have in the years since, until now).  It’s an immigration story first & foremost, neatly containing all of its supernatural menace in its frequent nightmare & hallucination sequences in a way that the more straight-forward body possession story Good Madam does not.  Whichever spooky revision of Black Girl you prefer, it’s undeniably cool that they both exist, and remarkable that their distribution paths converged on the festival circuit this year – Nanny premiering locally at New Orleans Film Fest and Good Madam premiering at Overlook.

Comparisons aside, Nanny mostly holds together as a sharply tense, surprisingly funny domestic drama about working class exploitation, with plenty of spooky window dressing to maintain an eerie mood.  Heavily referencing African folklore figures like the arachnid trickster-god Anansi and the alluring water spirit Mami Wata, Jusu easily establishes a dense visual language in the film’s plentiful nightmare sequences & daytime hallucinations.  Spiders, mirrors, snakes, and mermaids creep into the frame at almost every turn, disrupting the labor exploitation story at the film’s core in violent jolts of surrealist imagery.  Highlighting that labor exploitation is the main point, though, and whatever supernatural scares accompany it are only there to provide texture.  With a few scattered edits, Nanny could easily be reconfigured into a standard Sundance drama about an undocumented worker’s grim daily routine sacrificing her own familial bonds to hold a wealthy family together for petty cash.  If anything, removing the supernatural horror elements might have left more room to dwell in the moments of discomfort, heartbreak, and rebirth in the film’s rushed ending, which would’ve been much more emotionally effective if the audience were allowed to fully sink into it.

Speaking generally, I’m happy that horror movies are starting to earn festival prestige & awards-season accolades instead of being siphoned off as disposable straight-to-streaming #content (which accounts for a lot of Blumhouse’s output these days).  Nanny winning the Grand Jury Prize at Sundance feels a little like Silence of the Lambs winning Best Picture at the Oscars, though.  Technically, it’s an industry win for horror, but it’s such a safe, cleaned-up, presentable version of horror that it doesn’t leave much room for the victory to be repeated.  I would need an actual, physical intrusion of a devious spider-god or killer mermaid into the “real world” to get excited about what this movie’s success means for the prominence of the genre on awards ballots & festival red carpets.  As is, I get the sense that Jusu is much more interested in the Dardennes-style economic drama she gets to tell outside those horror elements, which were more of a funding & marketing hook than the main purpose of her story.  Thankfully, the horror industry is booming right now with or without festival accolades, so I can find what I’m personally looking for in stories like these plenty other places: Good Madam, Good Manners, His House, Zombi Child, I Am Not a Witch, etc., etc., etc.

-Brandon Ledet

Sissy (2022)

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I saw a good number of my favorite movies of the year (so far) at Overlook Film Fest in June, which is usually the case.  The programming at that annual horror festival is unmatched by any other local fest I can name, as long as you’re a fully committed genre nerd who doesn’t pay much attention to the Awards Prestige dramas of the fall.  It’s also condensed to a single weekend in early summer, which means it’s impossible for me to catch every movie I want to see in the program. So, I often spend the half-year after Overlook catching up with titles I missed during the festival (which almost invariably pop up on the streaming platform Shudder at one time or another).  Often, I feel validated in which movies I opted to skip at the fest (i.e., She Will), but every now and then there’s a fun little novelty like Sissy that I wish I had seen with a crowd.  It’s always hard to tell how much of an enthusiasm boost I’m giving to movies based on the horror-nerd fervor of the festival, but I do suspect that Sissy killed in the room at Overlook, and I would have loved to share in that joy.

In micro-subgenre terms, Sissy offers an Australian splatstick comedy version of the modern social media thriller. Let’s call it Heavenly Tweetures, Ingrid Goes Down Under, Aussies Aussies Aussies, whatever you like.  It references cult sitcom Kath & Kim in its opening minutes, so you immediately know that it’s filling an Australia-specific niche.  At the same time, its story of a “mental health” social media influencer who becomes a homicidal maniac when she reunites with her childhood bully is a fairly standard-issue template for its genre.  Sissy only Aussifies that template in its irreverent tone & practical-effects gore.  There’s a Dead Alive tinge to its head-crunching kills that makes for a good, goofy time even when the movie is at its most brutal.  That buoyancy seeps through its ironic Disney princess musical score, its Blood Brilliant Tampons™ visual jokes, and its adoring Love Island reality TV parodies; but it’s the gore gags I most would’ve wanted to experience with a crowd.  They’re delighfully vicious, and they’re ultimately what makes the movie special.

There really isn’t much to Sissy‘s social media satire that you can’t find elsewhere.  The titular killer’s addiction to the endorphin rush of notification chimes and her sociopathic ability to alternate between self-care rhetoric & spon-con abuse of her self-appointed position as a mental health authority are familiar to anyone who’s drawn to this kind of material.  I’d even argue that the other notable social media satire at this year’s Overlook, Deadstream, did a much better job of squeezing laughs out of that exact Youtuber brain-rot persona.  There’s a sincerity to Sissy‘s central drama that you won’t find in Deadstream, though, from its nostalgia for childhood BFF kinship to the anxiety-inducing horrors of joining an established adult friend group midstream.  If there’s any incisive social commentary to be found here, it might be in the #terminallyonline understanding of morality where everyone falls into one of two categories: “A Good Person” or “Cancelled.”  It’s when Sissy desperately, violently strikes out to avoid becoming “Cancelled” that the movie evolves into its ideal form: a flippantly funny slasher, not a thoughtful social treatise.

If watching a mental wellness YouTuber become Jokerfied at the first threat of getting cancelled appeals to you, Sissy is a hoot.  That premise is very appealing to me, so I’m not sure why I didn’t prioritize it at Overlook the way I did with Deadstream.  Frankly, I should be cancelled for the offense.

-Brandon Ledet

Valentine (2001)

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It probably hasn’t escaped your attention that I like to talk about Scream. Like, a lot. Scre4m was my 59th favorite movie of the 2010s, I mentioned the franchise nine times in Part II of my favorite horror movies by year list, and I talked about how Sidney Prescott is my favorite final girl in my review of 5cream. I’ve mentioned it on our Lagniappe episodes of the podcast too many times to count, but in our Cherry Falls episode in particular, we talked about the 4-5 year glut of what I like to call “the post-Scream slashers,” which broadly fall into three categories: 

  • Movies that copied Scream‘s self-awareness and setting while adapting and updating classic horror: The Faculty as Invasion of the Body Snatchers – in a high school! Disturbing Behavior is The Stepford Wives – in a high school! Joy Ride is The Hitcher – on a road trip home from college (sorta)!
  • Movies that didn’t seem to understand that what made Scream different was how it commented upon the genre, and so simply copied the setting, the teen cast, the shadowy killer with an inexpensive outfit, and the non-supernatural horror, and just made slasher flicks with high school (and occasionally college) students being tracked down by someone on a mundane vengeance spree: I Know What You Did Last Summer, Urban Legend, and, of course, I Still Know What You Did Last Summer. 
  • Movies that copied the teens-in-danger trope but didn’t bother to keep it grounded and instead went all-in on the supernatural, like Final Destination and Jeepers Creepers. 

Of course, we cited Cherry Falls as the anti-Scream (and if you want more details, you can listen to the episode), but there was one movie that was accidentally left off of that list, and definitely deserves to be mentioned: Valentine, directed by Urban Legend-helmer Jamie Blanks. I won’t call myself an Urban Legend apologist because that would imply the movie needs to apologize for something (other than the presence of Jared Leto), but I will say that I find it much more entertaining that the critical consensus does, and it’s not just because Loretta Devine is divine. I always wondered if Valentine, which has the prestige of being based on a novel like I Know… and Killing Mr. Griffin, was really as bad as its reputation lets on. It breaks my heart to tell you that, unfortunately, Valentine isn’t a bad movie, it’s just … only 66.7% of a great movie. I don’t know if a lot of it ended up on the cutting room floor (as infamously happened with Disturbing Behavior, which also feels similarly disjointed) or what, but man, I’ve rarely seen a movie that feels like so much of it is missing, and I’ve seen On the Silver Globe. 

There’s really no other way to talk about why without getting into the entire film, so spoilers ahead, as much as something that was in theaters before 9/11 can be spoiled. 

The film opens with a promising, frenetically cut scene in a middle school Valentine’s dance in 1988, as pipsqueak Jeremy Melton (Joel Palmer) asks five different girls to dance with him: Shelley, Lily, Paige, Kate, and Dorothy. The first three are rude and cruel in the way that children often are, while Kate rejects Jeremy softly with a “maybe in a little while” and Dorothy, who is pudgier than the other girls, accepts his advances. The two of them kiss beneath the bleachers but are discovered by a pack of bullies, who mock them. Dorothy, embarrassed, quickly agrees when the bullies joke about the sixty-pound “pervert” Jeremy “attacking” her, and the bullies pour red punch over him like he’s Carrie White at the prom before stripping him out of his wet clothes and beating him up, while several of the students who are looking on wear uncanny Cupid/cherub masks . Thirteen years later, Shelley (Katherine Heigl, post-Bride of Chucky and right in the middle of Roswell) is a medical student who, after a terrible first date with a man named Jason Marquette (Adam Harrington) who continuously refers to himself in the third person and makes Shelley pay for her portion of the dinner once he realizes she’s not going to sleep with him, is pulling a midnight study session involving an autopsy.  After a jump scare, she receives a Valentine’s card with a macabre inscription before being murdered by the Cupid-masked killer. 

Elsewhere, Paige (Denise Richards) drags Kate (Marley Shelton) to a speed dating event, despite the fact that Kate hasn’t broken things off with boyfriend Adam (David Boreanaz), who is noted to have a drinking problem, hence the two of them being on the outs. they receive news of Shelley’s death and the two women, along with Lily (Jessica Cauffiel) and the now-svelte Dorothy (Jessica Capshaw), meet the detective investigating the murder, Vaughn (Fulvio Cecere). Each begins to receive creepy notes and valentines signed “J.M.,” up to and including a box of chocolates filled with maggots, and we also meet our cavalcade of other love interests/ineffective red herrings: Lily’s boyfriend Max, a video media artist who has built a maze of images of disembodied mouths and sexy torsos talking about love and sex and whatever (no one in the movie seems to like it; I think it’s terribly pretentious but I would also go and have a very good time, for what it’s worth); Dorothy’s new boyfriend Campbell, who’s wormed his way into a guest room at the giant mansion her father owns and keeps talking about NFTs his new start-up and how his money is all tied up therein; Brian, a hot guy that Kate was starting to connect with at speed dating before Paige stole him away; and Gary, Kate’s creepy neighbor, who perpetually pitches unwelcome woo at her in sentences that rhyme with her name and whom she suspects of stealing her underwear in the laundry room. 

The police remain focused on trying to locate Jason Marquette because of the “J.M.” thing and that he was the last person to see Shelley alive. There’s also a subplot about Ruthie (Hedy Burress), a woman who shows up and accuses Campbell of having bled her bank account and warning Dorothy that she’s probably being used for the same scam. The surviving women discuss whether it’s possible that any of the men in their lives could actually be Jeremy Melton, all grown up after hitting the gym and possibly getting plastic surgery, throwing around accusations and various levels of cattiness that reflect deep, unspoken grievances from childhood. Dorothy even admits to having falsely accused Jeremy, which led to him being sent to a reform school, which led to juvenile hall and so on, before he dropped off of the map. Leading up to the climactic house party at Dorothy’s, most of these are whittled away as characters are murdered: the Cupid killer shoots Lily with arrows at Max’s show (her disappearance is unremarked upon by her friends as her having simply gone on her planned business trip), Gary is discovered in Kate’s bedroom trying on her underwear by Cupid and is bludgeoned with an iron, Campbell gets an axe to the back while relighting the pilot light at Dorothy’s, etc., and Ruthie is later killed shortly after discovering his body. It’s also worth noting that in most of these scenes, the Cupid mask is seen bleeding from its right nostril, just as Jeremy did at the dance all those years ago. People leave the party in droves following a power outage that results from the method by which Cupid kills Paige—in the film’s most memorable scene, which we’ll come back to—and when Kate tries to call Lieutenant Vaughn, she discovers his corpse along with a note that she had earlier given to Adam, cementing that he’s Jeremy, come round at last to get his revenge. She goes back to the house, where Adam behaves creepily but could also just be talking about falling off of the wagon, and Kate then fights Cupid, who is unmasked as … Dorothy. However, as Adam cradles her in his arms while they wait for the police to arrive, his nose is bleeding, before we cut to credits. 

There’s a lot that’s fun and good here, but I’m more fascinated by what isn’t here than what is. Just to start us off with a visual example, one of the men that Kate meets on the speed date is a smiling goon who’s too awkward to work up the nerve to actually say something to her: 

After fifty minutes, this guy shows up again, standing in the stairwell behind Paige when she comes downstairs at Dorothy’s party: 

That’s far too long between scenes for a red herring character to appear and be effective, and so little attention is drawn to him in this second appearance. It’s hard to explain but it just makes it feel like there was or should have been an intervening scene in the film’s second act, where he reappeared briefly and the film could have hinted that he was Jeremy, but it’s simply not present. In fact, there are several large group shots at Max’s art exhibition where it would make perfect sense for him to appear in the background, but I went back and watched that sequence in its entirety and he doesn’t appear in any of the crowd shots, foregrounded or otherwise; it almost makes more sense that he did appear here and was cut. 

And that’s not the only thing that’s narratively unfulfilling or otherwise doesn’t make sense in the language of film. Cameron is one of the film’s more involved red herrings, and he’s used more effectively than some of the others as well given that he is clearly up to no good, but it’s merely criminal, not homicidal.  Unfortunately, however, he is killed mere moments after we’re given the biggest hints that he might be the killer: he is unable to sexually perform for Dorothy, indicating that he’s not as into her as his cover story requires, then he gives her a necklace with a cherubic Cupid on it as a Valentine’s/apology gift, and then he goes down to one of the house’s spa areas and unsuccessfully tries to transfer her father’s money over the phone while scratching at the right side of his nose in agitation. This would be really effective if there were a scene or two in between them that left the house, creating some tension about whether Dorothy was safe or not, then cut back to Cameron trying to transfer funds. To digress for a moment, when Vaughn questions the women about boyfriends who might be behind the scary valentines and such, Kate claims that Adam simply can’t be Jeremy since she’s known him for a couple of years and even rattles off a series of facts about where he’s from and what his parents do for a living. It’s not my practice to review the movie I wish we were presented with or give feedback like this very often (I don’t never have some armchair directing feedback, but it’s not common), but this film almost begs for it, especially because the gaps are conspicuous in their absence; it’s not just that there’s something ephemeral that’s “missing,” it’s like there’s a specific shape that’s been cut out, like when a cartoon character leaves their outline after running through a wall. Right here is the perfect place for a scene where Kate, her certainty about Adam shaken, should have tried to do a little digging about Adam’s past; maybe she’s never actually met these parents and she casually asks Adam about them in a way that makes him react oddly, or she tries to look up the law firm where his mother works only to discover it doesn’t exist or contact the school where Adam’s father supposedly works only to learn there’s no “Mr. Carr” teaching there. Instead, we get two back-to-back scenes (six minutes of screentime) with Cameron and Dorothy in which no tension is built. This is pretty basic stuff, where the audience leaves one scene now assured that Cameron is the killer, then they have that determination undermined by Adam’s behavior or the discovery of lies in his personal history. 

Let’s talk about Scream for a second. I haven’t read the book on which it was based in its entirety, only the first two chapters that are available on certain websites as a preview, but there are enough differences in what I read versus what I saw to say that there were major revisions: Kate’s character is named Jill and is a mystery writer, Paige is called Tara and is an actress, and it is Adam’s character, called Nate here, who is the artist, not Max to bring the film more in line with the Scream narrative. The book opens just after the killer has committed his first revenge murder, and it happened in a bedroom, not a medical school morgue like in the film. The first victim in the novel is already dead at the time of the first line, but Valentine the film goes out of its way to evoke the opening of Scream instead, spending a lot of time with a character getting to know her before she’s killed, and utilizing one of the bigger names in the cast for this scene for shock value. Heigl didn’t have the superstar power that Knocked Up and Grey’s Anatomy would give her in the coming years and certainly wasn’t as famous as Drew Barrymore, but she was one of the big leads in a show that was aimed at and popular with the film’s demographic, and the ongoing staying power of Wish Upon a Star says a lot about how effectively it lodged itself in viewers’ minds. As in Scream, there is police involvement, and the primary red herring (Jason Marquette/Cotton Mather) is arrested for a time while the killings continue unabated, but the killer covers his tracks sufficiently that no one realizes this. And, just like Scream, the movie ends with a giant house party, and it’s this that I want to focus on for a minute. 

Dorothy’s big Valentine’s Day house party takes up far, far too much of this film’s runtime. Valentine is 93 minutes without credits, and the last 35 minutes, nearly 40% of the run time, all take place during this party. Worse that that, remember when I mentioned that nothing happens between the scene with Cameron acting suspiciously with his limp dick and Cupid necklace and the scene of him trying to defraud Dorothy’s father’s bank and then getting murdered? Nothing happens between those two scenes and the party, meaning that we spend the last 41 minutes of the movie at Dorothy’s house. The only time we leave there is when there is a quick cutaway to Lt. Vaughn calling Kate from his car to tell her that Jason Marquette was released and that he might show up at the party. Now, compare this to Scream, which likewise spent a huge part of its runtime (48 minutes) in its final act house party, but we don’t spend that entire time in Stu’s house. There are memorable scenes in the news van and down the road where Gale and Dewey take a walk that function to break up the visual monotony of spending too much screen time in one location. Once again, the outline of something missing is just as present in the narrative as the things that are actually there. To give credit where it’s due, this is where the film’s most interesting kill happens, wherein the killer manages to trap Paige in the hot tub under a clear plastic cover and starts drilling holes in it as she swims around evading the drill bit while having to keep her mouth and nose in the very small space between the cover and the water. It lasts longer than many of the other killing sequences (more on that below) and is very tense, unlike many of the others. 

One of the major things that Valentine, like a lot of Scream imitators, is missing is the characters’ attempts to fight back and survive, which often makes these scenes very brief and lacking in audience investment. In the original, Casey Beckett tries to flee the house and call for help from her parents and Tatum throws bottles of beer at Ghostface and fights for her life before getting stuck in the garage door that breaks her back; in Scream 2, which was released four years before Valentine, Maureen begs the audience to realize she’s not acting and help her, and Cici manages to do some real damage to Ghostface before being thrown off of the sorority house’s roof. And of course, in all of them, Gale and Sidney are pretty banged up at the end because they are badasses who refuse to die. Here, the murders are brief and, insofar as the characters have any agency at all, they mostly just try to hide (ineffectively): Shelley’s is the closest to a real attempt to fight back, but she still ends up hiding in a body bag, which is where the killer finds her; creepy Gary is beaten to death while cowering, moments after being discovered in Kate’s apartment by the killer and is never mentioned again; Lily gets shot to death by arrows from a distance and then falls down the center of a stairwell into a dumpster; Campbell takes an axe to the spine without ever seeing the killer coming for him. I actually saw more of this movie while testing this: from first arrow wound to dumpster fall, Lily’s death takes up 31 seconds of screen time. In comparison, Tatum’s death scene in Scream, from the moment she sees Ghostface to the moment her spine cracks, is 94 seconds, and that’s not counting the 90 seconds before that where she enters the spooky garage, struggles with the beers, and finds herself locked out of the house while tension rises. What’s more, this is one of the few areas in the movie where it feels like the failure is in the film itself, not the editing or the ostentatiously absent footage; there’s nothing missing here, the scenes simply aren’t that good. I also want to point out that some of the murders happen offscreen and it seems like it’s an actual stylistic choice, like Lt. Vaughn’s death being kept secret until Kate discovers his body, while some threads are simply left hanging, like Brian being left tied to the bed by Paige, implying that he might still be upstairs blindfolded and naked while the climax of the movie takes place. 

One thing that Valentine has that Scream doesn’t is opening credits. Stick with me here! Valentine‘s credits are intercut with its opening scene, and like I mentioned earlier, that opening is very effective and the film’s intersplicing of it all means that Valentine can have its cake and eat it, too, having old school long credits but making them interesting enough that the audience doesn’t mind. Unfortunately, this is also the film’s drawback, as the format of the titles spoils who the killer is. David Boreanaz was four years into playing his iconic role of Angel, two seasons of which were on his own show as the title character. That may have only made him a household name in households that watched Buffy, but for those households which also tolerated network series about quirky not-quite-a-cop investigators, his—wait, this math can’t be right. 245 episodes over 12 seasons? Ok, but jeezum petes—uh so yeah, Boreanaz’s turn as Booth on over a decade of Fox’s Bones also contributed to his fame. His is also the only man’s name in the movie that appears on its own during the credits. Richards is credited first, then Boreanaz, then Shelton, Capshaw, and “with” Heigl. The other men are listed in the opening, but always with other names, so you, the audience member who presumably knows who Boreanaz is, are subtly already clued in that he will be the killer, because if it’s not him, who would it be? Surely not one of these other comparative no-names (no offense), most of which, again, don’t effectively function as red herrings because they appear too infrequently. Gary is in two scenes; Brian is in two scenes. Every red herring is only 2/3 of the way there for them to work. The grinning goober who couldn’t talk at the speed dating event is only in two scenes, and all of it feels like a lot of the middle was cut out, where we would get that second scene before the final act that would lead us to believe that any one of them might be the masked killer. There’s even the tiniest bit of a hint that Vaughn might be the killer, since he’s not present at Max’s gallery opening but does mention that he’s seen Max’s work, as well as the sinister way that he isolates Paige and is a creepy lecher about it. Instead, because something is missing about the actual language of film, the viewer spends the whole rest of the movie waiting for the other shoe to drop and Adam to be unmasked as Jeremy. Imagine if Scream had opening credits and Skeet Ulrich was listed second while the rest of the male cast, including David Arquette and Jamie Kennedy, were relegated to tenth and eleventh billing; there would never be a moment of mystery, and there isn’t here, either. 

But that’s just it. The biggest empty hole that’s identifiable here is the lack of a second killer. That’s a foundational part of what made Scream work and is also present in its sequels (other than Scream 3, where it was cut at the last minute) but not its imitators (other than I Still Know…, which almost makes it the better of the two). Except—hear me out here—I think that Valentine did have a second killer, and the removal of that was one of the linchpins that made the rest of the story work. I mentioned before that the Cupid mask has nosebleeds, just like Jeremy, but it doesn’t happen every time. After Kate struggles with the Cupid-masked killer, Adam suddenly appears and kills them, with the unmasking revealing that Dorothy was under there. The Adam-is-Jeremy bloody nose reveal would have us believe that this was all part of Adam’s plan, that he somehow attacked Kate as Cupid and then dressed the disabled Dorothy (perhaps crushing her windpipe so that she couldn’t call out to Kate and reveal the deception) as Cupid so that he could then shoot Dorothy, have her revealed as the killer, and then get back together with Kate with no one to interfere and his vengeance sated. But what if that’s not what was supposed to happen? What if Dorothy and Adam were supposed to be in on it together. Some parts of the film actually make more sense this way, as Adam seems ideologically driven but Dorothy also harbors a lot of bitterness about being the “fat girl” of the group when they were younger. Further, there are some kills that, due to the editing, only make sense if this is the case, and it feels like the fact that the Cupid mask only bleeds sometimes is supposed to be a clue to this reveal, and that re-viewings of the movie with that in mind would reveal who was behind the mask during certain scenes. Adam wants to kill the women who spurned him, but has no reason to kill Cameron, and it’s notable that we don’t see the mask bleed during that scene, and that the timeline would seem to indicate that, since this was a few hours before Dorothy’s party, it was happening at roughly the same time that Adam was across town giving Kate her lollipop valentine. Although Dorothy is the reason that Jeremy went away and took a downward turn, it’s not a completely unrealistic twist that her bitterness toward her richer, smarter, prettier (in her eyes) friends led her to team up with Jeremy to take them down, only for him to fall for Kate and end up betraying her in order to have her be the scapegoat and let him have his dream future with Kate. 

However, for whatever reason, that ending didn’t sit well with test audiences, or perhaps studio executives. Maybe someone thought it was a little dated and fatphobic (which it would have been) and decided to course correct too late to fill in the gaps with it removed. Or maybe this is just a bad movie and I’m too invested in the parts of it that are good to let it go at that and insist on finding ways to close loopholes and fix bad editing with my projected fix-fic to turn this into a better film. But I don’t think so. I think that this was a movie with great promise that fell apart under its own weight with too much supporting material removed, even if I’m wrong about Dorothy. 

-Mark “Boomer” Redmond

Lagniappe Podcast: Gaslight (1944)

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For this lagniappe episode of the podcast, Boomer, Brandon, and Alli celebrate Angela Lansbury’s career by looking back to her big-screen debut in the psychological thriller Gaslight (1944).

00:00 Welcome

00:30 Slumber Party Massacre (1982)
02:00 Halloween costumes & candy
14:45 Creepshow 2 (1987)
22:00 Valentine (2001)
31:50 Táriangle of Sadness (2022)
35:55 Mrs ‘Arris Goes to Paris (1992, 2022)

43:35 Gaslight (1944)

You can stay up to date with our podcast through SoundCloud, Spotify, iTunes, Stitcher, TuneIn, or by following the links on this page.

-The Lagniappe Podcast Crew

Vesper (2022)

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I was a few minutes late to my screening of the dystopian sci-fi cheapie Vesper, so I missed the opening scroll that explained exactly which doomsday scenario its few scattered characters had survived.  According to Wikipedia, the film is set in “The New Dark Ages,” triggered by bio-engineered plants & viruses that escaped from the lab and into the wild, mutating the Natural world that scientists were attempting to save from Climate Change.  Basically, in the near future we take the “Hack the planet!” messaging from Hackers a little too literally.  Whatever table-setting paragraph I missed at the start of the film didn’t end up mattering too much, though, since its interest in old-fashioned sci-fi worldbuilding does not stop there.  Vesper is essentially a feature-length worldbuilding exercise, one that invests all of its energy in exploring the lush, biohacked landscapes of its Apocalyptic Vegetation futureworld, with little attention left for the characters who have to hack their way through it.  And for a certain type of hardline sci-fi nerd, that escape to an intricately detailed otherworld is going to be immensely satisfying no matter what happens there.

Plot-wise, this is a Young Women in STEM story. The titular Vesper is a plucky teen who’s incredibly gifted at biochemistry, stubbornly determined to biohack her way out of the Biohack Apocalypse.  Camping in the woods between a petty-dictatorship barter town run by her creepy uncle and an aristocratic “citadel” with a “No Poors Allowed” sign posted to its gates, Vesper is a fairly typical YA heroine: the only freethinker who’s ruggedly independent & smart enough to rescue her dystopian world from its downward spiral.  She’s more of a video game avatar than a fully formed character, since her main function is to lead us through the overgrown vegetation and crumbling urban infrastructure of the “world of shit” she calls home.  There are plenty of contemporaries to Vesper‘s style of low-key, lived-in sci-fi, from the surreal vegetative mutations of Annihilation to the violent Natural reclamation of urban spaces in The Girl with all the Gifts to the analog sci-fi throwback of Prospect.  Only this movie exists in this specific world, though, so it’s more important that Vesper give us the full guided tour of her far-out greenhouse creations than it is for her to stir up meaningful drama with her dying father, her creepy uncle, or her fellow scrappy rebels.

Vesper can feel a little humorless and drawn out at times, but it’s shrewd about inspiring awe & disgust with limited resources.  This French-Lithuanian production was shot in an uncanny English dialect as a bid for wide international appeal, but I’m not sure that it ever had a chance to make it beyond a few festival raves & VOD streaming deals. Its detailed worldbuilding impulses are tied to such a literary sci-fi tradition that it was never going to fully break out of its nerdy niche, at least not without giving its Wilson volleyball drone sidekick a bunch of James Corden-voiced one-liners (as opposed to the defeated wheezings of Vesper’s dying father).  Its ambitions are super admirable, though, and it accomplishes a lot creatively even if its distribution has been limited.  Shot without artificial green screen environments, Vesper explores a lived-in, tactile dystopian world that should be a major draw for anyone who’s at all nerdy about world-building and practical effects.  It feels vibrantly alive – brimming with mutated plant tendrils, radioactive glow worms, and A.I. creatures made of vintage medical equipment.  You just won’t find much of that vibrant life in the drama or dialogue.

-Brandon Ledet