By Ben Bussey
So – Tristan, Nia, Keri and Steph have all given their own accounts on the highs and lows of 2013, and I’ve been intrigued and in some ways very pleased to see that we haven’t just had the same films being listed over and over. I guess that’s partly because we didn’t all see the same films – I for one have missed quite a few that I hope to catch in the near future. But I guess it also reflects the diversity of taste within the BAH staff, and the mixed bag in general that 2013 has been.
Keri already mentioned quite astutely the way we tend to wind up in default disappointment mode when doing these end-of-year round-ups, and while I absolutely get where she’s coming from, I still can’t help feeling a little let down with the overall crop this year. This is mainly because I felt and still feel that 2012 was a really fantastic year, with a slew of great movies which I’m sure will stand the test of time. Still, there may be a few slow-burners among the 2013 releases, which – though they didn’t quite set the world ablaze this year – may well develop a reputation with time.
So, here’s my own personal rundown of the genre movies that I was most impressed with in 2013, in roughly preferential order…
10: Citadel
When I first sat through this at Abertoir 2012, I just had to tune out. The whole young man left alone holding the baby whilst surrounded by danger thing… as a father myself, it just hit too close to home. It was only when I gave it a second chance on its DVD release this year that I came to appreciate what an impressive piece of work it is. I can’t say I particularly enjoyed it, or that I’m in any rush to watch it again, but I have to give credit where it’s due: Citadel really unnerved me, and not too many movies manage that these days. (My review – Tristan’s review. )
9: The Borderlands
Whaddya know – it’s another of the elusive few that has genuinely freaked me out of late, thanks to a wonderfully creepy conclusion that I most definitely won’t be spoiling. The Borderlands also demonstrates how found footage can still work as long as it’s used intelligently, and the filmmakers don’t neglect to tell a fully-rounded story with fully-rounded characters, and make sure to hire decent actors to convey it all. (My review.)
8: The Disco Exorcist
While I’ve yet to catch Discopath (one of Nia’s top ten), I had plenty of mirror ball- tinged fun with this jive-talking little movie, in fact made a couple of years ago, but only released on Region 2 DVD this year. Easily the best grindhouse/rewindhouse flick I’ve seen of late, not only because it apes a 70s aesthetic so brilliantly, but also because – again – it doesn’t neglect to tell a proper story, and to craft some genuinely creepy sequences despite the overall air of absurdity. And where it most deserves applause is how it unabashedly embraces the sexual elements which so many modern pseudo-grindhouse movies shy away from; it’s astonishingly close to soft porn, and I say that with love. (My review.)
7: I Didn’t Come Here To Die
This time last year, all I knew about this movie was that it had one of the worst hack-job DVD covers I’d ever seen. A few months on, that injustice stung even worse, once I saw the movie and found it to be a genuine pleasure. A gory misadventure which also sat on the shelf a couple of years before hitting the streets, it’s a great example of microbudget filmmaking done right (some rather unconvincing day-for-night photography notwithstanding), and takes an agreeably unpredictable approach with material which might initially seem a bit obvious. If you think you’ve seen everything that can be done with a chainsaw, you need to check this one out. (My review.)
6: Motivational Growth
Of all the films I saw at Abertoir 2013, this is one I’m most eager to see again, as I get the impression it’s one of those cases where you see a different film every time. I’m still not sure if I really liked it as such, but I’m intrigued by it, and can honestly say I’ve never seen anything else quite like it; the way it blends diverse elements of body horror, slacker humour and psychological drama in a surreal, theatrical manner. (My review.)
5: Jug Face
Another one that gets a very high score on the uniqueness scale, not to mention big points for atmosphere and performances. We don’t get many movies which are based around such a bizarre core premise, but still credit the audience with enough intelligence to keep up. Jug Face is a fascinating, brilliantly performed piece, though it might not necessarily be anyone’s idea of a good time. (Keri’s review.)
4. You’re Next
Ah, but when it comes to having a good time at the movies, this one surely delivered above all else among widely released horror this year (though, yet again, it’s been on the shelf a couple of years). It is a shame You’re Next underperformed in cinemas, as it certainly had the potential to be a breakthrough hit with more mainstream audiences. It’s not too far removed from The Cabin in the Woods in the way it plays with genre conventions without alienating less genre-literate viewers, and it may well have launched a future scream queen and/or action heroine in Sharni Vinson, as something close to the bastard child of John Rambo and Nancy Thompson. (Dustin’s review.)
3: Byzantium
Another one that really got shafted in cinemas; I’m not sure it played anywhere for more than a week, which is a horrendous injustice given I’ve yet to hear a bad word said about it from anyone who’s seen it. A triumphant return to the supernatural for Neil Jordan, it’s a great showcase for every actor involved, and a really interesting new take on vampire lore, dwelling for once on a parent/child relationship rather than the more usual sexual dynamic. And, of course, it’s got Gemma Arterton in a corset, which can only ever make a film better. (Nia’s review.)
2: Curse of Chucky
No one is more surprised by this than me. Honestly, to date I could take or leave the Child’s Play movies; Bride of Chucky was the only one I ever really gave a damn about, and when I heard a back-to-basics sixth Chucky movie was on the way, I didn’t expect much. Goes to show you never can tell, as this may well be the best movie in the series thus far. Don Mancini has done his creation a great service with this semi-reboot, which makes Chucky well and truly menacing for the first time in ages. More than that, though, Curse of Chucky is a wonderfully atmospheric and tense movie in its own right, making brilliant use of its single location and stellar cast; Fiona Dourif is most definitely an actress to keep an eye on. (My review.)
1: Dead Sushi
Yes, really; my number one film of 2013 is also quite possibly the silliest. What can I say? Dead Sushi was, all things considered, the most satisfying new film experience I had all year. It’s so gloriously off-the-wall, yet so unexpectedly smart with it, brilliantly structured and truly witty. Surely Noboru Iguchi’s best work, it’s a world class comedy with wonderfully absurd gore gags, yet boasting genuinely great action scenes, and – yes – remarkably informative about sushi etiquette and appreciation at the same time. Really, how could any film in which Asami does the robot not be a masterpiece? (Tristan’s review.)
Bonus pick: taking it up to 11 with something that totally isn’t a horror film… Spring Breakers
I guess if Nia’s happy to name this her number one, I should feel no qualms about including it. Either way, I’m eager to reiterate how great Spring Breakers really is, as I don’t think it got half the love it deserved this year. Perhaps in years ahead, when the hype is forgotten, viewers will appreciate how remarkable, powerful and smart it is, and just how much it says about the world today. (My review.)
Guilty Pleasure: Hansel & Gretel Witch Hunters
No, it really isn’t very good. It’s dumb, with a pretty lazy script and in some instances very lazy acting (coughJeremyRennerahem). But so what? It’s fun in that Army of Darkness/Sleepy Hollow way, and even though it comes up deficient in many respects, it’s one of those ones that will be easy to revisit over the years because it’s simple, undemanding and good for a giggle. Also – further evidence that Gemma Arterton in a corset can only make a film better. (My review.)
Biggest Turd of 2013: I Spit On Your Grave 2
I was briefly tempted to say The Strange Colour of Your Body’s Tears here, just to wilfully stir up some shit with my BAH colleagues… but as much as I disliked that one, there’s really no horror film in 2013 that was so painfully misconceived on every level than that rape revenge sequel that absolutely no one asked for. I don’t know what they thought they were doing with this, but it’s just a nasty piece of work in all the wrong ways. Oh, and to the poster quote whores who declared it ‘the best horror sequel ever,’ I hope you realise no one will ever take you seriously again. (Tristan’s review.)