Vogue Writer Slams Horror: “Where Have All the Good Horror Movies Gone?”

Remember when horror was good?” asks Vogue writer Taylor Antrim, who proclaims 2018 void of any good horror movies in an article published this week, yet still works in mentions of Hereditary and A Quiet Place – the latter of which he calls a “thriller”. Sigh.

We didn’t even get a decent shark movie this year,” he bolsters like that’s some kind of quantifiable statistic over the past 100 years of cinema. (The funny thing is, the fact that we even did get a mega budget shark blockbuster with The Meg actually shows how huge horror is right now.)

The writer then slams Halloween, before he comically tells readers to watch Revenge, which, I hate to break it to him, came out this year. Remember when horror was good? Like, you mean right now? In this very moment we’re living inside of?

Then, Suspiria is removed from the equation. “Suspiria is not forgettable. Nor is it, I hasten to say, much of a horror film, despite being a remake of one.” He suggests that a horror movie isn’t a horror movie unless it has “an element of fun, of dark delight,” and excludes Suspiria because it wasn’t fun nor did he understand the finale. Must be a “thriller,” eh?

Typical for pieces of this sort, the article has no clear point and builds up to nothing; mostly, it’s supported by the writer’s viewing of WinchesterThe Nun and Slender Man, three not-so-great films that offer only a fraction of horror that was put on display this year. Of course, as most horror fans are aware, the good has far outweighed the bad in 2018.

(And even the baddest, it’s worth pointing out, have proven quite successful.)

But I digress. This feels like yet another mainstream hit piece, one that perhaps it’s best to give no attention to at all. But it’s hard not to. After all, this is exactly the kind of bullshit we horror fans constantly have to deal with. You see, when horror is having a down year, they’ll write, “Horror is dead.” When it’s hot, like it has been for the past few years, they quantify it and remove films to fit their narrative. We’re low class to them. There’s no way a horror film could be so good that it deserves awards… right?

You just watch… when Toni Collette gets nominated for an Academy Award for her performance in Hereditary, and Ari Aster gets nominated for “Best Director” and “Best Original Screenplay”, the mainstream media will start the narrative that Hereditary is not a horror movie. Buckle your seatbelts, cause it’s going to happen. Hell, it already has.

Digressing yet again, I don’t understand how one of the biggest magazines on the planet can allow someone to write a horror hit piece having just seen a small handful of horror films?

Outside of the aforementioned Hereditary, A Quiet Place (a monster movie that’s without question a *horror* movie), Revenge and Suspiria (that’s a lot of great horror right there, no?), there have been dozens of phenomenal genre films released in 2018. So much so that I’m having a difficult time narrowing down the best of the year. While you may debate me on the merits of The Predator or this weekend’s Overlord (both extremely fun genre films), I offer you the following counter: Annihilation, Mandy, The Ritual, The Night Comes For Us, One Cut of the Dead, Thoroughbreds, Before I Wake, Ghost Stories, Blue My Mind, What Keeps You Alive, Tumbbad, Lowlife, Possum, Let the Corpses Tan, Terrified, and The Witch In the Window.

I’m sure there’s even more, but let’s not pretend we’re not in the middle of a major horror renaissance. We are. We absolutely are. And true fans of the genre see that clear as day.

Don’t let anyone tell you otherwise.

[Fantastic Fest Review] Bloody ‘The Night Comes For Us’ is One of the Most Electrifying Action Movies In Years

It comes as no surprise that the latest effort from Timo Tjahjanto is yet another bare-knuckle brawl masterpiece. The man who brought us such gems as Killers, Headshot, and the V/H/S/2 segment “Safe Haven”, which he co-directed with The Raid’s Gareth Evans, it’s become sort of an expectation that each new attempt at carving out a world where men use their fists to settle skirmishes is going to be nothing short of show-stopping. The Night Comes For Us is no exception, as it serves to prove that in this day and age where star-studded superhero flicks and CGI-filled Michael Bay movies reign supreme, the most thrilling foray into action movie madness is still just good old hand-to-hand combat and well-choreographed fight scenes.

Starring Joe Taslim as Ito, the film follows the basic structure of a hitman gone rogue with an endless stream of killers hot on his trail. An agent of the “Six Seas”, a Jakartan gang held responsible with protecting a Southeast Asian passage where illegal goods are smuggled, Ito decides he’s had enough when he duties demand him to murder an innocent little girl after the troop with whom he resides burns the girl’s village to the ground. Instead of fulfilling his orders, Ito turns his weapon on his own brethren, guns down his comrades, scoops the girl up into his arms, heads home, and prepares for the worst. And oh, rest assured, the worst is coming.

Although they once called each other brother, Ito’s longtime friend Arain (The Raid’s Iko Uwais) has now been sent to kill his longtime friend, and it’s a mission he intends to see through to the end. What follows is a long and gloriously bloody battle, filled with wall-to-wall action, cringe-inducing knife wounds, and a shocking and wonderfully creative look at how absolutely every single inanimate object in the room can be turned into a weapon if wielded properly.

Skillfully framed by director Tjahjanto, who, along with his talented cinematographer Gunnar Nimpuno, keeps the camerawork just as alive and in the moment as the fights themselves, the combat laid out by master choreographer Iko Uwais is simply astounding. Masterfully laid out, much of the most exciting moments and hardest hits land in the smallest spaces, as Uwais somehow finds a way to turn certain circumstances like a four-by-four room in the back of a truck into a perfect stage to throw some of the hardest punches ever seen onscreen.

As expected, Iko Uwais and Joe Taslim, along with The Raid 2’s Zack Lee in the hilariously titular role of “White Boy Bobby” are absolutely incredible as they mercilessly use billiard table cotton pockets filled with pool tables and janitorial caution signs and well-placed pushpins and smashed bits of wine bottles to beat the ever living daylights out of each other, but perhaps one of the most exciting and unexpected aspects of the film is just how powerful the female fighters in the film prove to be. Uwais and Taslim may control most of the runtime, but the only reason why Taslim’s Ito continues to live after coming into contact with one of these ladies is because she allows him to do so – a spectacular step forward for all womankind, and really, just a stupendous way to be these tough guys in their place.

Despite the fact that this film is filled to the brim with nonstop action, the fight scenes never feel repetitive because they’re shot so well by Tjahjanto and crew. Also, while the little girl who Ito saves from the hit squad arguably only serves as a McGuffin to move the plot forward, the emotional connection that she brings to the audience helps keep the viewer engaged in the storyline, even though, in all honesty, the story has little do with why audiences will and should show up to see this one on the big screen. Brutal, pulse-pounding, and wholly electrifying, The Night Comes For Us is undoubtedly one of the most electrifying action movies in years, thus solidifying Tjahjanto as a master of the modern day fight scene, a title which he has rightly earned.

Netflix Brings the Action This October With ‘The Night Comes For Us’

An international name you should know by now is Timo Tjahjanto, the man behind Macabre, the “Safe Haven” segment of V/H/S/2, and the Sundance selection, Killers. Next up is The Night Comes For Us, which had its World Premiere at the ongoing Fantastic Fest to rave reviews. Thankfully, we won’t have to wait long for this violent actioneer as it’ll hit Netflix on October 19th.

Killers was produced by The Raid: Redemption director Gareth Evans, and the duo collaborated on the V/H/S/2 short “Safe Haven”, which is how The Raid 2‘s Julie Estelle, dubbed “Hammer Girl”, ended up cast in The Night Comes For Us. Evan, who saw his Apostle premiere at Fantastic Fest, produces alongside Maya Barack Evans of PT Merantau Films and XYZ Films’ Nate Bolotin, Aram Tertzakian, Nick Spicer and Todd Brown.

In the film, Joe Taslim plays a mobster who returns to his local crime family in Jakarta only to find himself trapped in a word of betrayal and chaos.

Tjahjanto also saw his Evil Dead-inspired May the Devil Take You premiere at Fantastic Fest and will also hit Netflix at a later date.