Horror general thread [+]

I think horror recently has delved into more serious themes because it’s en vogue but yeah, there’s always been good horror movies that led the pack. But I think they were fewer and farther between in the past. Same can be said for a number of genres though, including science fiction, and action/adventure films, even comedy.

A24’s primarily, or at least its most high profile movies, have been elevated horror but that’s not exclusive. I do think there’s a halo effect around all of their films right now. In general, I find their movies to be pretty high quality - Hereditary, Midsommar, The Witch, The X trilogy…all solid movies IMO.
Sturgeon's Law. "90% of everything is crap." You either learn to love the crap or hold your nose and wait for the "good stuff." Me, I've got terrible taste and I love it. I've long since stopped caring about high-brow nonsense and embraced the genre-fiction ghetto. Gives me a lot more stuff to enjoy.
 

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Sturgeon's Law. "90% of everything is crap." You either learn to love the crap or hold your nose and wait for the "good stuff." Me, I've got terrible taste and I love it. I've long since stopped caring about high-brow nonsense and embraced the genre-fiction ghetto. Gives me a lot more stuff to enjoy.
Oh, don’t get me wrong! I LOVE horror be it serious or campy or gory or whatever. I’m just speculating on what changed within the genre to make horror more noticeable to awards shows and committees.
 

Three films. Don’t forget Frankenstein. Something like eight awards to horror films on Sunday. Del Toro has been winning awards for horror for decades now.
How could I forget! 3 horror movies in the major categories of the academy awards, it feels new to me. Especially because Shape of Water was not a horror movie IMO. Inspired by old creature flicks definitely, but not horror in the sense of Weapons or Sinners (being actually scared and gorey vampire action)
 

Oh, don’t get me wrong! I LOVE horror be it serious or campy or gory or whatever. I’m just speculating on what changed within the genre to make horror more noticeable to awards shows and committees.
I would agree with you, I think it is the "dramatization" of horror with A24 at the forefront.
 

How could I forget! 3 horror movies in the major categories of the academy awards, it feels new to me. Especially because Shape of Water was not a horror movie IMO. Inspired by old creature flicks definitely, but not horror in the sense of Weapons or Sinners (being actually scared and gorey vampire action)
If you like, but he’s done more films than that. Pan’s Labyrinth, Crimson Peak, and Pinocchio come to mind. All horror and two won Academy Awards.
 

If you like, but he’s done more films than that. Pan’s Labyrinth, Crimson Peak, and Pinocchio come to mind. All horror and two won Academy Awards.
What are arguing right now? Just being a contrarian at all cost? I never claimed that none of Del Toro's movies won any awards, I claim this to be a new development of horror being widespread in the academy award winners and even in the major categories. This was the topic I proposed to talk about. 3 horror movies among the winners.
 

I’ve run into a bit of an oddity in my Weird War quest.

According to Wikipedia:

“The first seven issues [of Weird War Tales] were reprinted material. Each issue beginning with issue #8 was hosted by Death, usually depicted as a skeleton dressed in a different military uniform each issue.”

But, according to the Encyclopedia or Weird War Stories:

“[Weird War Tales is an anthology] title featuring fantasy, supernatural and science fiction war stories hosted by the skeletal figure of Death dressed in different military garb each issue. He was introduced on the cover of the first issue in Nazi uniform attacking U.S. troops…new material beginning with issue #5.”

I would tend to believe a physically published and well-researched specialty encyclopedia, but I’ve just read Weird War Tales 1 and 2, so I know the encyclopedia is wrong about the cover of issue 1 and the host not being Death until later issues.

Short of tracking down the original comics where the reprint material come from, I’ve no real way to confirm when the new material started, with issue 5 or 8. Given the flub on the cover and host, and absent any compelling evidence to the contrary, I’ll have to assume Wikipedia is right.

#

Weird War Tales 2.

Another framing device and another potential host character, who is not referred to as Death.

Intro. WW2. A soldier stumbles through the desert, away from a crashed German Stuka fighter and a burning US tank. We are told this is “you,” an attempt to make a second-person comic story. You find an oasis and drink the water. You are confronted by a robed figure who begins to tell you a tale…

Reef of No Return. A US frogman goes on a mission to destroy a reef. Several of his friends have already tried and failed at this same mission, never to be seen again. This frogman takes things differently, trying indirect attacks. He learns sometime the direct approach is the best and takes out the reef. Nothing supernatural or horror, just a war story. No explanation why the reef must be destroyed, nor who the enemy is, nor what time period the story takes place in.

The Moon is the Murderer. WW1. The trenches, somewhere. At night. Two men stalk each other in this “silent” story. No captions or dialogue. Only a few well-placed sound effects. One man is German and one either British or American. They pass by each other, sometimes within feet but cannot see because of the clouds covering the moon. The clouds pass, revealing the moon, and they shoot at each other. Several passes like this happen before one man finally kills the other. Again, nothing supernatural or horror. Great bit of tense storytelling though.

Behind the Cover. WW2. A woman has a nightmare about receiving a “We regret to inform you” letter about her husband being KIA. She wakes up to a knock on the door and assumes the worst. It’s her husband. He was wounded and sent home. But he switched dog tags with another soldier so the wife’s vision was sort of right. Quick, two-page story.

A Promise to Joe. WW2. A flying fortress crew face heavy fore from German fighters. Brothers man the waist guns, ports in the side of the plane with mobile .50 caliber machine guns. They promise each other that they’ll keep firing no matter what. After one is killed the other takes his position to keep firing. The fighters keep attacking but the gunner keeps them off. After landing the captain checks and finds them both dead.

Monsieur Gravedigger. French Foreign Legion. North Africa, near or in Morocco. This is a dialog and exposition heavy tale of intrigue and attempted mutiny and desertion. Nothing weird or supernatural.

Military Madness. I’m assuming WW2. Overtly cartoony style. A one-page horror comedy piece about Dr. Frankenstein making the perfect drill sergeant.

Sgt. Rock’s Battle Stations. Military specialties of the armed forces. Various ranged weapons through history and around the world are depicted. A detailed explanation of the M79 grenade launcher is given. The piece ends with a panel wondering if man will still be fighting in the far future against aliens on other planets.

The Face of a Fighter. WW2. First page is a splash page showing a fresh-faced recruit becoming grizzled and worn with war. A squad is ambushed and a runner is sent to get reinforcements. On his run back the fresh-faced recruit takes down two snipers, a mortar, and two scout cars all by himself. On his run back, he spots and takes out a sniper before the sniper is aware of him.

Outro. The hooded figure finishes telling these stories and turns to leave you alone at the oasis. You object but he leaves anyway. A small German patrol comes across the wrecked vehicles and follows your tracks to the oasis. You are lying dead as your fellow Germans find your lifeless body. You were the Stuka pilot.
 

I think the major shift with the Academy Awards and horror is the rise to prominence of more voters who like horror. Someone who grew up in the ‘70s-‘90s is more likely to have taken in a bunch of horror than someone who grew up in the ‘40s-‘60s. So they’re better equipped to evaluate horror movies.
 

I think the major shift with the Academy Awards and horror is the rise to prominence of more voters who like horror. Someone who grew up in the ‘70s-‘90s is more likely to have taken in a bunch of horror than someone who grew up in the ‘40s-‘60s. So they’re better equipped to evaluate horror movies.
I think there’s also more creatives taking horror more seriously. There’s a higher percentage of directors, writers, cinematographers and actors who are NOT viewing Horror genre films & TV as disposable, fungible storytelling.

And because of THAT, more studio suits are coming around to the idea that quality horror deserves as much support as any other genre.
 

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