The Halloween List: A Quiet Place, Emelie, and Hereditary

I'm kicking off The Halloween List this year with one of my favorite hidden gems, and two of the biggest Horror movies of 2018. 2018 has been so long that it's easy to forget A Quiet Place even came out back in April, right?

All three of these films attack the family in very different ways. A Quiet Place is about family surviving in a country that's destroyed; Emelie is about a family that thinks it's safe until they hire the wrong babysitter; and Hereditary is about a family haunting itself. Each is powerful, but which kind of conflict is the most effective on you?

A Quiet Place (2018)

I have been waiting a damned long time for A Quiet Place. Horror has a troubling history of relegating disabled characters to the roles of villains. I wrote about that phenomenon for Fireside Magazine last year. You can take solace in the well-meaning portrayals of Wait Until Dark and Silver Bullet, but those are moves with abled actors cripping it up, and screenplays that pander. They could never get beneath the surface.

Millicent Simmonds is a deaf actor, and she’s the emotional core of this movie. She plays Regan, the oldest child in one of the few families to survive an invasion of monsters. The monsters hunt on sound; they can hear a toy space ship from miles away, and be there in seconds. Regan has saved the family, because since they all know ASL, they know how to communicate and live without speaking. They walk into town to scavenge on paths of sand to quiet their footsteps. They have adapted.

The Halloween List: Dog Soldiers and Area 51

Area 51 (2015)

This is the part of October where I defend Found Footage movies. This is a niche of Horror that I continue to enjoy. Sometimes one is truly awful (see: The Pyramid), but somewhere amid making the camera part of a character, letting us see the environment in ways we otherwise couldn’t, and the tease of where antagonism will come from, this approach to filmmaking gets past my defenses in ways even excellent traditional film can’t. Googling around, it seems Area 51 is universally reviled. But I had a surprisingly good time.

Yup. It’s another case of John liking an unpopular Found Footage flick!

Under the Skin Vs. It Follows (Vs. Sexuality)

Today's is going to be a long post. Instead of just writing independent reviews of the two hot-topic films, I want to talk about them in relation to each other. If you haven’t gotten to them yet, I won’t spoil the third act of either. But Under the Skin and It Follows are very interesting Horror movies to have come out so close to each other – they’re both films about victimization, but from opposite sides of it. They’re both about predators hijacking sexuality for their own unknowable ends.

But most people I know like one and loathe the other. When they condemn whichever of the two they dislike, they label it sex-negative. I disagree with that reading for either film. Rather, both feel rooted in Horror’s history of finding something desirable and finding a way to make it terrifying. Friday the 13^th did that with cabin vacations; Jaws did it for swimming; and it’s easy to forget, having grown up with John Carpenter’s Halloween, that the holiday wasn’t always so blood-soaked, but rather that movie helmed a change in cultural attitudes around the holiday.

Unfortunately Halloween also helped cement tropes about sexuality in Horror. The tropes are unhealthy, and even baffling when you find the liberal attitudes of their screen writers and directors. John Carpenter and Wes Craven were startled when people confronted them about things latent in their work. It's why Craven went out of his way to subvert some of those tropes in Scream.

So when Horror turns sex into an actual theme, it has to be mindful. Slasher Movies didn’t originally intend to punish teen sexuality, but it became a tradition, and one that It Follows deliberately fights back against. Under the Skin goes for something weirder.

Let’s look.

Bathroom Monologue: Unidentified

UFOs circle the country fairgrounds. They flash, strobe and terrify. They lower, three unknown objects, and sweep the hair of the tallest citizens, and spook the cattle, and everyone runs for their cars. UFOs whiz away into the sky.

A fortnight passes. UFOs circle the downtown shopping plaza. They flash, strobe, and terrify. Car alarms go off from their proximity, and eerie musical notes emanate from the fillings of old men. Electric doors rebel and remain closed, trapping shoppers to stare at the unknown. UFOs whiz away into the sky.

Another fortnight passes. UFOs circle over the city’s only annual night-time parade. They flash, strobe, and intrigue. Citizens duck for cover, and once under cover, argue about whether these strobes are a different color than last time, or how there are fewer this time. Everyone now clearly sees that they are saucers, sleek and well-illuminated. They are identified. The FOs whiz away into the sky and the parade resumes, if awkwardly.

Another fortnight passes, and the city congregates down by the docks, out in the open. They have blankets laid out and hotdogs grilled up, all in time for the light show. As it circles overhead, citizens hug each other a little tighter, or munch caramel corn, or try to snap ironic photos of themselves “holding” the saucers aloft. They’re welcome.