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By Brutal As Hell staff – intro by Ben Bussey

And so it begins: our top 20 movies from the lifetime of Brutal As Hell.

When we decided to mark five years online by compiling a list of our overall favourite films to come out in this time, I always knew it was going to reap some interesting results. Over the days ahead, in four instalments, we will relay this list to you along with some thoughts from those among our team with a particular liking for the film in question – and while there will doubtless be some films you might have expected to see listed, I suspect there are also some inclusions that just might surprise you.

One important thing to note going in: these are not in preferential order. We decided against that almost immediately, as that might imply that these choices were in any way unanimous, which they most definitely weren’t. Indeed, there are those among us who actively dislike some of the films which made the cut (why, there’s a film on this very page which I for one don’t like at all).

But this, I think, is one of the strengths of Brutal As Hell. We don’t toe a party line. We don’t write to reflect the opinions of anyone but ourselves as individuals – and very often we disagree with one another.  But we’re united in our devotion to the horror genre, and our commitment to always saying what we think. (Incidentally, Tristan’s recent piece on the most divisive horror films of the last five years lists several which came close but didn’t quite make the cut.)

Of course, sometimes we find that our feelings about certain movies are quite similar – so you may see some similar observations made. What can we say, sometimes great minds just think alike. And ours, too.

Also, the more observant among you may note that we have a couple of films which were actually made prior to 2009, the year BAH went live. This was another point of some discussion, and we came to the conclusion that if the film in question was not widely available (i.e. on DVD or theatrical release) prior to 2009, then it was fair game. In any case, I think all the pre-2009 films listed are ones we would have been remiss to leave out.

Anyway, enough of my yacking. Here comes the first five of our top 20 – once again, in no particular order:

Let the Right One In (2008)

Nia: Let the Right One In is one of those achingly beautiful films that succeeds in being entirely effective rewatch after rewatch. While Tomas Alfredson’s direction is tight – as he proved again with Tinker, Tailor, Soldier, Spy in 2011 – there’s no doubting that the incredible performances of the film’s two young leads make the film what it is. That two then twelve-ish year olds give such mature and complex performances is quite remarkable. Kåre Hedebrant imbues lonely and bullied Oskar with such vulnerability that it’s impossible not to feel a deep sympathy for the twisted child. Lina Leandersson’s performance as Eli is perhaps even more complex – she utterly convinces as a decades-old supernatural killer, and yet retains a degree of youthful innocence still. Eli’s expert manipulation of her ward, Hakan, is as much childish as it is vampiric. The moments in which Oskar and Eli are together are when the film truly soars. The scene in which Eli tells Oskar “Hit back, hard” is one of my favourites in the entire film, and it both demonstrates Alfredson’s directorial skill and the intensity of Hedebrant and Leandersson’s performances. Shot in extreme close-up, and their faces partially obscured, the young actors convey the intimacy of the scene, while Alfredsson deftly and subtly contrasts the two, all the while bringing them closer together. Sublime.

Ben: Mention vampires, and watch eyes roll. Hear the grumbles of “seen it all before.” Wait for someone to invoke the ‘T’ word. Yet not only did Let the Right One In prove that there is indeed still life in the vampire: it also used the archetype to craft easily one of the finest horror movies – indeed, one of the finest movies overall – of our time. Poignant, sensitive and heartfelt without getting slushy, and often surprisingly savage and gruesome without lapsing into cartoonish excess, Tomas Alfredson’s film is the benchmark by which any contemporary horror is measured, should it aim to resonate on a personal, emotional level. (I hear the remake wasn’t bad, but I still haven’t seen it; ultimately, I see no reason to.)

Read Marc’s review and Dustin’s review from 2009.

The House of the Devil (2009)

Steph: This was my first introduction to Ti West and the ‘mumblegore’ sub-genre as it has now been termed, and I was really taken aback by its sheer originality and ambition. For such a young filmmaker West has a singular vision and that is to be admired. It’s important to horror that we have people like West, along with Adam Wingard, E.L. Katz, Simon Barrett et al., who give viewers who don’t want to see the likes of Insidious or yet another Hollywood remake something to get excited about. The House of the Devil has a note perfect period setting, strong performances and it is genuinely creepy, proving that the slow burn is often the most effective way of creating tension, not just a cheap jump scare every ten minutes or so. Young indie filmmakers need to be applauded and supported by the fans, which is why I’m happy to see this film on the list. After this, The Innkeepers and soon The Sacrament, West is on a roll and I’m excited to see what he does next.

Quin: The House of the Devil is a slow and quiet horror film that has the look and feel of something from the late 70s or early 80s. For such a quiet, slow burning film, it uses sound beautifully to enhance the overall effect – whether it be the lack of music in most scenes, or the sound effects and editing. It gets the look of the period right and uses filmmaking techniques from the era, much like The Sleeper – but where that film has the look, it remains pretty shallow. The House of the Devil is much deeper. Ti West is without a doubt my favorite horror director of the last five years, and the acting in the film is flawless – from the newer faces like Jocelin Donahue, Greta Gerwig and A.J. Bowen, to cult favorites Mary Woronov, Tom Noonan and Dee Wallace. This is one of the best films of the last decade as well as one of the best films inspired by Satanic panic ever made. It’s also worth noting, while David Cronenberg’s A History of Violence has the honor of being the last film to get a VHS home video format release, The House of the Devil is available in a VHS/DVD bundle, you know, to enhance the experience. It’s a gimmick that is certainly not needed, but I sort of appreciate it too.

Read Dustin’s review from 2009.

Martyrs (2008)

Nia: My favourite cinematic experience involves watching Martyrs for the very first time. A full house of horror fans, almost all of us, I’m sure, not entirely sure what to expect. I’d known at the time that Martyrs had encountered some controversy on its domestic release in France. No amount of hype could have prepared me for the ensuing 90-ish minutes. The enduring memory, outside of the film, might be the direct aftermath – an audience of hardened horror fans, shuffling out of the cinema in hushed shock. I don’t remember anyone uttering a word until outside the cinema, and even then, I recall one of the few instances in my life where I was literally at a loss for words when someone asked me, ‘what did you think?’ Uniformly the people I spoke to felt a generally pleased sense of shock. In discussions since, I’ve learned that some long-time horror fans I know had been on the verge of walking out of the film – not out of disgust or outrage, but because of the sheer unbearableness of certain sequences. Martyrs is not a film for the faint of heart. It’s barely a film for the normal-of-heart. What starts off as an effective yet relatively standard horror formula becomes a stunningly brutal home invasion scenario, before descending into an existential ordeal in the belly of hell itself, its lofty philosophy made terribly immediate. The devils and monsters and victims of the film are all terrifyingly human, the entire piece coming together as a fable or fairy tale taken to its uttermost extremity. I’ve rewatched the film several times – many people I’ve known have outright said they would never watch the film again, despite being utterly engrossed upon first viewing – and although its initial impact has only very slightly diminished, it nevertheless remains powerful, moving and utterly terrifying.

Steph: Martyrs is a tough film to love; in fact, upon first viewing I wasn’t won over by it at all and was left wondering what all of the fuss was about. However, after revisiting the film on a number of occasions I’ve come to admire it very much, and I think it is perhaps the strongest film in the recent influx of extreme French cinema (Switchblade Romance, Inside, Frontiers etc.) As a woman and a fan of horror and cinema in general I’m often saddened by the lack of strong and interesting female characters, and here we have three of them. Anna and Lucie are both sympathetic, complex characters and the Mademoiselle is easily one of the most despicable bad guys (or ladies) ever committed to film. Obviously not for the faint of heart, Martyrs broke new ground and divided audiences. It proved to be a talking point amongst fans, and love it or loathe it you cannot deny the impact it has had in recent years.

Comix: Wow, what can I even say about this movie? The first time I saw it, I literally had to go outside and walk around just to make sure the world was still spinning. It was like nothing I had ever seen before, an incredibly visceral experience that put you right in the shoes of the girl who is experiencing it. Not only that, but it went beyond a horror movie and almost became philosophical, exploring the true depths of human fear. There was no flinching away at the bloody parts, no questioning what is happening, just simply a “can’t look away” horror film that makes you feel bad for everyone in it. Martyrs is beautiful and depressing all at the same time, like Requiem for a Dream but even more of a bummer. I’ve watched it twice and am too scared to watch it again.

Read Annie’s review from 2009.

REC Trilogy (2007/2009/2012)

Ben: Okay, so technically this trilogy began before Brutal As Hell came online – but I think we’re all agreed that for most if not all of us, it’s by far our favourite horror movie franchise of recent years. Fascinating really, as it takes two of the most overused tropes of the past decade – found footage, and zombies (let’s just call them that to keep it simple) – but manages to use them in such a way that it feels fresh, fun and thrilling, and at times truly scary. I know REC3 divided opinion by ditching found footage and going more comedic, but I loved it perhaps even more than the first two; it’s easily the most enjoyable Evil Dead 2-esque, tongue-in-cheek blood orgy of recent years, and Leticia Dolera’s chainsaw-wielding bride is surely the most iconic horror heroine of the century thus far.

Nia: I first saw REC on a laptop in student digs. Not the ideal way to watch a claustrophobic and frenetic found footage film, maybe, but boy did it get me good. I loved it, bought it, showed it to friends. I saw REC2 in the same manner, a film which managed to freak me out so much that I had to pause at one moment in order to catch my breath. What a joy, to experience a modern horror sequel which is equally as good as the first. The third film I also saw on DVD (on a TV this time, at least), and while the change in style and tone didn’t please everyone, I for one loved every silly second of it. For me then, this is a franchise that hits 3 for 3, Plaza and Balaguero providing scares and entertainment with supreme gusto. The consistent quality of the REC films is reflected in the fact that not only is it the only franchise to have made it into our top 20 (and only one other came anywhere close), but that it ranked so highly among our votes. It also highlights the disparity between found footage done very, very right, and the vast majority of the subgenre which ends up being done so very, very wrong. That the franchise itself hasn’t continued with the found footage device is indicative of thoughtful and talented filmmakers at work, ensuring that the conceit has never outlived its welcome. All this doesn’t half place a lot of pressure on the forthcoming REC4: Apocalypse, but on the strength of the franchise, I’m not too concerned that Balaguero won’t deliver (especially following the excellent Sleep Tight he’s made in the meantime since REC2). I also hope, hope, hope that REC4 is finally a REC film I get to see on the big screen!

Tristan: An admission to start with – I came to the REC films late. Last year in fact. Part of this was my reticence to jump on a bandwagon that everyone else seemed to be gladly clambering on (an extremely self-defeating attitude, especially as popularity often points to quality – although not always!), and part because, even five years ago, I was already getting a little sick of zombies and found footage. What a fool I was. Even after another five years of being bombarded by low budget horror films endlessly recycling the same tired ideas, REC feels fresh and smart, boasting a sly script, note perfect pacing, and, in Manuela Velasco, an engaging protagonist who goes from perky reporter to – well, no spoilers. The first sequel builds upon the basic premise of the original but manages to surprise the audience with various little twists and unexpected moments, and comes off very nearly as enjoyable as the first film. REC3, with a different director, cast and setting, attempted a change of tone for the lighter, and, although it counts other BAH writers amongst its fans, stands nowhere near the greatness of the previous entries for me. Thankfully original director Jaume Balagueró is back on board for the darker climax to the series, REC: Apocalypse, due in 2014.

Read Ben’s 2009 review of REC, Dustin’s 2010 review of REC2, and Nia’s 2012 review of REC3.

Some Guy Who Kills People (2011)

Annie: A splattery serial killer slasher film with a big candy heart, Some Guy Who Kills People is packed with quirk, spilling over with sweetness and brimming with big buckets of bloody guts. It’s everything a horror/comedy should be: funny as fuck, its three-dimensional characters brilliantly portrayed and its violence over the top gross-out perfect. This features one of the last appearances by horror icon Karen Black, although Barry Bostwick just about jerks the entire film out from under everyone as an irreverent sheriff.

Tristan: The horror genre’s dealings with mental illness over the years have generally left a lot to be desired – from the ‘escaped mental patient’ trope, to the sort of things (such as Polanski’s Repulsion) which place us in the downward spiral of madness, we’d be forgiven for thinking poor mental health equated with death and destruction in most instances. For this reason, among others, Some Guy Who Kills People blindsided me. Not only is it a genuinely sweet romantic comedy, it’s also a slasher movie which doesn’t skimp on the gore, features a cracking cast (shouts to Barry Bostwick’s scene-stealing performance, and the late Karen Black proving what a talent was taken from us in 2013), and places a damaged character at the centre of proceedings, treating him with sympathy and respect and making sure the laughs come from the right places. Now we can only live in hope that other film-makers will ease off on using the mentally ill as the bogeyman to frighten us with.

Ben: It’s no secret that a lot of us who get deeply into horror aren’t necessarily the most well-adjusted people. We’re all carrying variable weights of emotional baggage, from which we get some release via these ridiculous little films – but we’re still ordinary people living in the real world. Some Guy Who Kills People speaks to that wounded soul more directly and effectively than pretty much any other film I can think of from recent years, and most importantly it does so with a light heart and an optimistic outlook. And, of course, it’s bursting with hilariously funny dialogue, exemplary performances, and great splatter.

Read Annie and Ben‘s reviews from 2012.

So that’s the first five – read on for part two…

By Tristan Bishop

The horror film positively thrives on controversy – from the illicit thrill of the X rating introduced in the 1950s, to the Video Nasties debacle, shock and outrage is part of the lingua franca of the genre, and film-makers still find ways to rattle the cage after over 100 years.

Of course, controversy is not only measured in the outrageousness of a film’s content – and some of the more divisive films to have come out in Brutal As Hell’s lifetime have split the horror community (let alone the BAH staff!) for other reasons as well. So here’s a little rundown of the more noteworthy…

A Serbian Film (2010)

Where did it come from?
Serbia, rather unsurprisingly – in fact the debut feature of Srdan Spasojevic, who directed, produced and co-wrote.

What’s it about then?
An aging adult film star agrees to appear in an ‘art’ film for a huge amount of money. However he soon finds himself drugged and forced to participate in increasingly demeaning and immoral scenes.

Why is it so controversial?
This film is basically a catalogue of atrocities designed to offend almost everyone – reading the IMDB ‘parental information’ list for this one is a favourite party game. The unflinching scenes of sexual violence are hard to watch, and doubly so when young children (and in one memorable case, a new-born baby) are thrown into the mix. These scenes, although obviously faked (at least obvious to anyone who has ever seen a film before) landed the film in hot water. The Serbian government ordered an investigation into it, a whopping 19 minutes were cut for the American release, and the film was banned in Spain, Portugal, France, Austria, New Zealand, Malaysia, Singapore and Brazil – although oddly not in the UK, where a (still fairly heftily) cut version is available on DVD.

What happened to the film-makers?
Amazingly, Spasojevic isn’t languishing behind bars somewhere, and managed to direct one of the better, if perhaps slightly too arty, segments of ABCs Of Death (R is for Removed). Doubtless the horror world will be watching his next move with interest.

American Mary (2012)

Where did it come from?
Despite the title, Canada. The second film by those irrepressible identical twins the Soska sisters, who burst on the scene previously with the high-energy, zero-budget grindhouse thriller Dead Hooker In A Trunk.

What’s it about then?
A promising young medical student, after being drugged and raped by one of her professors, drops out and finds herself embroiled in the world of body modification, whilst simultaneously taking gruesome revenge.

Why is it so controversial?
This is an odd one in that the controversy was not generated by any extreme content. The rape scene, although effective, is shot sensitively and non-explicitly, and the body horror business, although occasionally disturbing, is nothing that would land the film in trouble. Rather this film divided the horror scene because of the buzz surrounding it – by the time many got to see it they were already sick of it, and the film’s extremely borderline status as a horror film (it’s basically a rape-revenge film, although totally unlike any you have seen before). This is certainly an understandable reaction (I’ve never seen Breaking Bad and I’m already bored of it), yet it somehow turned into a vicious online war regarding female film-makers, with some commentators equating the length of a director’s skirt with the size of their talent – which, whether you liked the film or not (and to my mind there is plenty to criticise as well as celebrate here), is blatantly A1 asshole behaviour.

What happened to the film-makers?
Well, no publicity is bad publicity, as they say. Despite American Mary barely troubling the cinematic mainstream, the waves of hype generated by the film and the larger-than-life personalities of the writer/directors mean the girls are keeping the work coming, with their segment in ABCs Of Death 2, and slasher sequel See No Evil 2 both due in 2014.

Antichrist (2009)

Where did it come from?
Danish arthouse bad boy and cinematic rule-breaker Lars Von Trier

What’s it all about then?
Your guess is as good as mine, frankly. Ostensibly about a couple (Charlotte Gainsbourg and Willem Dafoe) who go on vacation to heal after the accidental death of their child.

Why is it so controversial?
Many, many reasons – not only in terms of content, but also reception. Von Trier serves up hardcore sex, some truly unpleasant gore scenes and queasy subject matter, but does it in a way so mannered and obscurist that the result is less a horror film and more a set text for film academics. Which isn’t to say that’s a bad thing or that the film is unwatchable (give me this over the director’s turgid Melancholia any day), but it’s certainly a talking point, and guaranteed you won’t find two people in the same room with the same opinion of this film.

What happened to the film-makers?
Getting booted out of Cannes for ill-advised (but humorously intended) Nazi comments aside, he has since made the aforementioned snooze-fest and is about to release two-part all-star hardcore porn epic Nymphomaniac, which will undoubtedly prove even more controversial than Antichrist.

The Human Centipede films (2009/2011)

Where did it come from?
The Netherlands and the fevered imagination of enfant terrible Tom Six.

What’s it about then?
Of all the films under discussion here, the Human Centipede films are the only ones to have truly entered popular consciousness, but if, like the titular insects, you actually have been living under a rock, here’s the gist – in the first film, a mad scientist kidnaps three people and stitches them together, mouth to arse, to make a three person sequence. The second film is an altogether stranger, self-referential proposition, as a deranged fan of the original film decides to kidnap several people and build his own centipede, using much less scientific methods than the original.

Why is it so controversial?
Originally, because of the vomit-inducing concept of having your face surgically attached to someone else’s digestive tract. Despite this the first film is fairly non-graphic, being a rather standard (although very enjoyable) mad doctor film . The second instalment, however, takes the notoriety gained by the original and plays off it, delivering a stark, surreal and extreme commentary on those who blame horror films for real life atrocities. The film, with staple guns replacing surgical needles, and scenes including sandpaper masturbation, was briefly banned in the UK, although an edited version was released soon afterwards. Despite the controversy, it’s an intelligent and surprisingly funny film.

What happened to the film-makers?
Tom Six, after much wrangling and apparent legal issues, has managed to persuade Deiter Laser and Laurence R Harvey – the villain/protagonists of parts 1 and 2 respectively, to return to the fold for the almost certainly even more bizarre third and final instalment, due in 2014.

Kill List (2011)

Where did it come from?
The UK, and from former TV director Ben Wheatley.

What’s it about then?
Without wanting to spoiler those who haven’t seen it, it concerns two hitmen who take on a job which leaves them over their heads in trouble.

Why is it so controversial?
Like American Mary this is one which divides opinion among horror fans. Some (myself included) lapped up the well-balanced characterisation and the deliberately uneven pace of the film, whilst some were left distinctly unimpressed by that same pace and the film’s remarkably similarity in structure (and ending!) to a certain other controversial film which may or may not appear on this list. Again, despite the lack of extreme material on show here, Kill List is a film it seems impossible not to have a strong opinion on.

What happened to the film-makers?
Mr Wheatley, even Kill List’s detractors will admit, quickly became the hottest new talent in the UK, following this up with the universally-adored horror comedy Sightseers, and the even more head-scratching English Civil War psychedelic witchcraft odyssey A Field In England. Although the less said about his ABCs Of Death segment the better.

Martyrs (2008)

Where did it come from?
France, from director Pascal Laugier, former assistant to Christophe Gans.

What’s it about then?
Again, hard to describe without major spoilers, let’s just say it’s a film about imprisonment, ordeal and human exploitation.

Why is it so controversial?
This one not only shocked people with extreme content – it’s certainly one of the nastier films that could conceivably be placed under the subgenre of ‘torture porn/ ordeal horror’, partially due to the skill with which it is made rather than explicit violence (although there is plenty of this too), but it also divided people critically as well, with as many feeling cheated by the out-of-left-field climax as felt exhilarated.

What happened to the film-makers?
Laugier went to the States to direct The Tall Man (2012) which went largely ignored by horror fans. He was scheduled to be involved in a Hellraiser remake, but his stated intention to bring the gay S&M elements to the fore upset the producers, who wanted yet another teen-focussed soft R-rated remake.

The Woman (2011)

Where did it come from?
The only film on this list from the USA, from director Lucky McKee, who had previously been behind horror fan favourite May (2002) and the best of the Masters Of Horror episodes (Sick Girl) amongst others.

What’s it about then?
A grim, unflinching feminist parable about a lawyer and supposed family man who captures a feral woman and attempts to ‘civilise’ her with increasingly brutal methods.

Why is it so controversial?
It’s a Jack Ketchum adaptation, so there’s enough rape, violence, misogyny and general grimness on show here to put anyone on edge, and McKee gives us very little direct comment on proceedings, leaving the audience to make their own minds up. The lack of likeable characters (or at least those with speaking parts) adds to the overall atmosphere of ordeal.

What happened to the film-makers?
McKee has made another feminist horror film since then, in the form of the much lighter, but outrageously enjoyable All Cheerleaders Die.

Editor’s note: as Brutal As Hell’s five year anniversary celebrations continue, be on the lookout for our top 20 films of the past five years – which just might feature the odd title from this very same list…

By Quin

As one of the newest contributors to Brutal As Hell (I started here in early September) I definitely don’t feel that I saw enough movies this year to come up with a list of films that deserve to be on a top 10 list. So, if you have a short attention span, have I got a list for you! I actually really love lists, so next year you can expect a much longer one from me, but for 2013 here are my Top 4.

4. The Jeffrey Dahmer Files – Directed by Chris James Thompson

I sometimes enjoy true crime documentaries, but rarely do they deviate from that Unsolved Mysteries made-for-TV tone. I had low expectations going into this, but was more than pleasantly surprised by what I saw. The film has a style that is reminiscent of an Errol Morris documentary – one that is also a bit similar to My Amityville Horror (a documentary from this year that I did not like at all). In this documentary, we get to see an interview with the lead detective who worked on the Jeffrey Dahmer case, who is fascinating to listen to. We also hear from the medical examiner and Dahmer’s next door neighbor. In the more than twenty years since Dahmer’s capture, this is the most information I have ever heard on the subject. I learned things I didn’t even know I wanted to know, the most poignant being the complex feelings described by the neighbour of wondering why she didn’t know something was wrong. The details of the crimes are gruesome and heartbreaking. The film also does re-enactments with Andrew Swant as Dahmer. The fact that this could have gone horribly wrong but doesn’t is another element that makes this a great documentary and one of the year’s best films.

3. Jug Face – Directed by Chad Crawford Kinkle – Starring Lauren Ashley Carter

This a weird, fun and quite original movie with top notch acting with campy undertones, a creepy atmosphere and excellent use of a low budget. I can’t think a film about religious horror that I’ve enjoyed more than this probably since The Wicker Man. For a more in depth assessment, you can read Keri’s review here.

2. Escape From Tomorrow – Directed by Randy Moore – Starring Roy Abramsohn and Elena Schuber

This quite easily made it to my number two spot this year. This is basically a nightmare filmed at the happiest place on earth. It’s a visually amazing and super fun trip through the Magic Kingdom. I am so happy this movie exists and even happier that they made it right – oh, and no one was squashed by Disney over this film. Yay! You can read everything I have to say about this wonderful film right here.

1. The Battery – Directed by Jeremy Gardner – Starring Jeremy Gardner and Adam Cronheim

Not only is this my favorite film of the year, it’s probably also going to be my favorite film of the decade. Jeez, I know the decade isn’t even half over yet, but that is just how much I love this film. The Battery blends three of my favorite things beautifully – zombies, indie rock and baseball. I know it’s hard to believe, but I’ve always been a zombie fan. I stuck it out through the years of awfulness, where everything was either a remake, found footage or a zombie movie. But The Battery breaths new life into the genre. The pace and cinematography may be too much for hardcore horror fans, but those of you who appreciate the art of cinema are sure to enjoy the smart script and gentle, visual poetry that looks like Terrence Malick directing an episode of The Walking Dead. This is truly beautiful undead art. (Keri’s review.)

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.)

By Stephanie Scaife

Following on from Tristan, Nia and Keri, here’s Steph with her take on the highs and lows of 2013, kicking off with her personal top ten…

1. Only God Forgives
Bizarre, violent, unquestionably pretentious but that combined with it’s couldn’t-give-a-fuck attitude is precisely why I loved Only God Forgives so much. Nicolas Winding Refn has produced a singular vision that has proven to be incredibly divisive and you’re unlikely to see anything else like it. (My review.)

2. Cheap Thrills
This anarchic punk rock feature debut from E.L. Katz really needs to be seen to be believed. A vicious indictment of the lengths desperate people will go to and a vicious warning of the perils of one-upmanship, yet at the same time incredibly funny and jaw-droppingly audacious. (My review.)

3. The Battery
The Battery is a tiny indie picture with a budget of just $6000 written, directed, produced by and starring Jeremy Gardner and the fact that he has managed to create something so good is testament to the old adage, where there’s a will there’s a way. (Keri’s review.)

4. Antiviral
There are a lot of first time directors on my list this year, which is great. What is also great is that they are producing such brave and original work. Antiviral may have its flaws but it is a visually striking satire on celebrity culture and worship. Brandon Cronenberg and his star Caleb Landry Jones both prove themselves ones to watch and I expect great things from them both. (Keri’s review.)

5. Maniac
Shock horror! A remake that is not only good but is actually better than the original. Elijah Wood shakes off any remnants of Hobbiton as Frank, a serial killer with a penchant for scalping his victims. Shot entirely in Frank’s POV, this could easily have been a gimmick but it works to chilling effect, only heightened by the fantastic score. (Keri’s review – Ben’s review.)

6. The Desert
As with The Battery, this is a low budget indie where the event (in both cases a zombie apocalypse) is secondary to the human relationships at its heart. This is about what actually happens to the people in the aftermath, and it’s profound and oddly romantic at its heart. (My review.)

7. We Are What We Are
Unbelievably, I have not one but two remakes on my list this year! We Are What We Are is a very different beast to the original and both work, but for quite different reasons. I like the gender switch and the gothic Americana of this version, and although I wouldn’t describe it as “better” than the original, it has made the story feel new and created a new mythology around a central theme. (My review.)

8. The Borderlands
I really don’t get the whole found footage thing and I have been genuinely surprised this year, not just with the continued appeal of this sub-genre but with the fact that there have been a few good ones. The Borderlands was unexpected for a number of reasons: it’s genuinely funny, it’s well executed and has some genuinely creepy moments. (Ben’s review.)

9.Willow Creek
Gosh… another found footage. I’m really going to have to reconsider my position when it comes to this sub-genre. As with The Borderlands, this is a very funny film indeed; clearly improvised and using real locals and locations, it creates a really naturalistic feel. The main horror also centres around a shot that lasts a good fifteen minutes without a single cut, which is a feat that the actors and filmmakers manage to pull off to great effect. (My review.)

10. A Field in England
I am a huge fan of Ben Wheatley and this homage to British folk horror is a fascinating oddity that is visually stunning and oftentimes baffling. It’s the sort of film that you experience and although it may not be to all tastes it should be commended for its audacity. Wheatley regular Michael Smiley is suitably terrifying as the mysterious O’Neil.

Honourable Mentions: Filth, Byzantium, Warm Bodies, In Fear, The Bay, Safe Haven segment in V/H/S 2

Most Underrated: How I Live Now – Unexpectedly bleak and brutal coming-of-age post apocalypse from Kevin Macdonald.

Most Overrated: The Conjuring – Dull, lazy and not in the least bit scary.

Pleasant Surprise: Willow Creek – A found footage movie that doesn’t suck? Thanks to Bobcat Goldthwait such a thing is indeed possible.

Most Disappointing: Pacific Rim – Guillermo del Toro, giant robots, monsters… this has got to be amazing, right? Nope, I fell asleep.

Worst Film: Machete Kills – Lazy, offensive and Mel Gibson.

Most Unnecessary: I Spit on Your Grave 2

Best Soundtrack: Maniac OST by Rob

“Holy Shit” Moment of the Year: Dog eating scene in Cheap Thrills.

Best Performance: Kristin Scott Thomas as Crystal in Only God Forgives, especially for the line “How many cocks can you entertain with that cute little cum-dumpster of yours?”

Best Genre TV: The Returned tied with Utopia.

Most Anticipated of 2014: Horns, Under the Skin, Only Lovers Left Alive, The Sacrament, Godzilla, How to Catch a Monster, Nymphomaniac (three of these titles were on my list last year, lets hope they actually get released in 2014!)

By Nia Edwards-Behi

2013 seems, to me, to have been a bit of strange year for horror. While a lot of excellent films have been released, I’m hard pressed to think of any that got me supremely, uniquely excited. Then again – there are a great deal of films from this year, as always, that I’ve yet to see, and a great number of the popular festival films this year are ones I didn’t especially enjoy. There have been moments this year when I’ve really questioned whether or not my own taste in genre film is completely out of sync with the majority, but each time I’ve thought that, I’ve realised that that’s exactly what makes writing about films interesting. As always, my list is quite heavily comprised of films not yet on general release, due in part to my own festival involvement. Hopefully, they’re ones that will continue to play festivals and go on to get released more widely in 2014. Without further ado then, here follows my top ten horror/genre films of 2013 (arranged in a very flexible and not particularly strongly-felt order of preference).

1. Spring Breakers

Surprised? If I travelled back in time to January 1st, 2013, and told my past-self that Spring Breakers would be anywhere on my end-of-year list, never mind at the top, I would have laughed in my own face. But, here it is, a stylish nightmare of a film that addresses youth, class, femininity, crime and punishment, starring bikini-clad stars and rocking a banging soundtrack. I unashamedly loved Spring Breakers, and while it’s clearly not a horror film, nor explicitly a genre film, it’s definitely that strange sort of art film that seems to straddle genre and defy characterisation. Ben’s review from earlier this year sums up a lot of my feelings on the film.

2. The Strange Colour of Your Body’s Tears

If Amer was a film that divided opinion, then Strange Colour definitely out-does its predecessor. It out-does it in style and foggy narrative, too, which was something I enjoyed immensely. I’m a big fan of apparent style-over-substance (see also Spring Breakers, above, and Kiss of the Damned below), but I’m an even bigger fan of it when there is, actually, quite a bit of substance involved. Strange Colour is a film I’m very excited to watch over and over again, to delve deeper into its imagery, symbolism and utter sumptuousness.

3. Kiss of the Damned

Another film that has seemed to divide opinion is Xan Cassavetes’s Euro-sleaze inspired vampire drama. Again, the style of the film completely won me over, heavily-accented acting included. It’s a slick melodrama, its leads Josephine de la Baume and Roxane Mesquida shining as vampiric sisters with apparently very different outlooks on un-life. If not for the high production values, the film might easily be mistaken for a rediscovered cult gem. The film’s poster might also be my favourite of the year (along with Strange Colours), so it’s with great annoyance that I’m looking forward to owning the generically-covered DVD early next year.

4. Byzantium

Yet more sultry vampires appear in Neil Jordan’s return to the sub-genre. The film is dominated by Gemma Arterton’s supremely dangerous temptress Clara, as she attempts to shield her daughter Eleanor (Saoirse Ronan) from the harsh realities of their world. The film offers a sad portrayal of vampirism, and a refreshing narrative, which is ultimately about the relationship between mother and daughter. (Read my full review here.)

5. All Cheerleaders Die

A film I suspect will divide people when it’s seen more widely, Lucky McKee and Chris Sivertson’s latest film is a wicked and witty take on the mess that can be teenage relationships. Managing to be ridiculous, laugh-out-loud funny and yet incredibly dark, the film offers one hell of a ride – again, managing style and substance, if you’re willing to be receptive to both. The film might also feature the best opening sequence I’ve seen all year – one I’ll definitely be keeping unspoiled. (Read Tristan’s review.)

6. The Machine

It’s very exciting to feature a Welsh film on my end of year list. The Machine looks set for big things, having already won BAFTA Cymru and BIFA awards before it’s even been fully released. The film doesn’t exactly break new ground, but it doesn’t really need to, as it does what it does so well. Caity Lotz is incredibly impressive in her role the self-aware artificial intelligence taken from her maker to be utilised as a weapon. Given the film’s relatively low-budget, it looks stunning, and in many ways much better than bigger-budgeted sci-fi fare. Look out for a UK release early next year. (Ben’s review.)

7. The Man with the Iron Fists

For some reason this seemed to come and go with little fanfare and even less praise, yet when I saw it on DVD earlier in the year I couldn’t possibly have been more entertained. Yes, it’s a bit of a mess, but my god you can tell that director and co-writer RZA loves the films that inspire it. The Man with the Iron Fists offers a gloriously convoluted narrative vehicle for lashings of kung-fu action and wonderful performances (Russell Crowe’s never been better). Throw another ace soundtrack on top of all that, and here’s another film I could happily watch over and over again. (Ben’s review.)

8. The Station/Blood Glacier

Yes, this film is a lot like John Carpenter’s The Thing. However, it’s got a couple of aces up its sleeve that makes it stand out, though – a great sense of humour, and a badass middle-aged lady-politician who gets in on the action. The film is packed to the brim with likeable characters, which is always refreshing, and it’s inventive and pacy with its creature-feature elements. An absolute blast of a film, I’m looking forward to more people getting to enjoy it in 2014 (and just you wait for that ending).

9. Discopath

It’s a film about a guy who feels the impulse to kill when he hears disco music. I mean…what’s not to love? Quite a lot, according to some people, but damn their eyes, because Discopath is exactly what it should be – ridiculous, gory, and a heck of a lot of fun. Much like Kiss of the Damned and The Man with the Iron Fists, Discopath throws back to a different era with aplomb, and without any of that pretend scratchy film nonsense. And I still can’t get ‘I Was Made For Loving You’ out of my head.

10. Chastity Bites

I really hope that this film gets some wider attention, but I have a horrible feeling it’s going to be one of those utterly brilliant films that doesn’t get seen past some festivals and a limited DVD release (see: Travis Betz’s The Dead Inside from a couple of years back). Chastity Bites puts a very modern spin on the legend of Elizabeth Bathory, refiguring her as an abstinence teacher in an American high school. While other girls fall for her cover, and unwittingly become her perfect victims, it’s up to teen feminist blogger Leah to reveal the truth and save her friends and classmates. With a synopsis like that it’s probably clear that Chastity Bites isn’t for everyone, but it very definitely was for me. Charming and witty, the film holds up to repeat viewings and does wonderful things with genre conventions without ever coming across as smug, like so many of its peers.

Whittling a year’s worth of films to just ten is always difficult, and I must give special mention to the brilliant Pacific Rim on one end of the scale, Chanthaly on the other, as well as the excellently spooky The Last Will and Testament of Rosalind Leigh – and gosh, probably others I’ve foolishly and predictably forgotten about. Oh, and wondering why American Mary, released on DVD in January, isn’t on my list? Because it appeared at the very top of my list last year!

Of course, horror’s about the broader community as well as the films, and so here I also offer some personal highlights of the year, and, just to remind ourselves that everything’s not always brilliant, some, er, outstanding lowlights.

Personal highlights of the year:

– Bothering the Soskas in London and Sheffield when American Mary toured the UK in January
– Taking part in the Women in Horror calendar, raising money for charity alongside some far more well-known and talented people
– One Way Static’s Last House on the Left soundtrack re-release
– [smug] Co-organising yet another ace Abertoir [/smug]

Lowlights of the year:

– Joblo’s shameful comparison of ‘movie hotties’ Abigail Breslin (aged 17) and Chloe Grace Moretz (aged 16) to determine which of the two under-age actresses is more deserving of their sleazy attention
– The revelation of Lianne Spiderbaby’s plagarism
– Some of the more disgusting responses to Lianne Spiderbaby’s plagarism
– The trailer for I Spit on Your Grave 2’s DVD release being able to use ‘the best horror sequel ever!’ as a legitimate review quote.

And so onward to 2014. There’s possibly only one horror title that I’m really quite desperately looking forward to, and that’s one which many will have seen this year already – Only Lovers Left Alive. My hopes for Godzilla are high, and I hope that The Raid 2, Zombie TV and Gothic Lolita Battle Bear make it to the UK in 2014 too. What’s certain, though, is that, like every other year, there’ll be surprises in store and shocks a-plenty in 2014, so here’s to it!

By Kit Rathenar

There are certain things that have always, historically, been the province of teenagers in a way that they can never quite belong to any other section of society. Every generation thinks they invented sex, drugs and rock’n’roll; and in a sense they’re right, because these are rites of passage such that it doesn’t matter who’s done them before. When we’re doing them for the first time, at that moment they belong to us alone.

Horror movies – we all know it – fall into that category, too. We sneaked into eighteens under-age, we dared each other to watch things that we knew we were going to regret, and we’ve all got that one movie that we scared ourselves to death with at some impressionable age and still can’t watch without a shudder. It’s just the way it goes. But there’s one other great cultural icon that resides in this teenage territory, and that’s cars. Even in England learning to drive and getting your wheels is still something special, and in America the First Car has been elevated to the status of a cultural cornerstone. And thus, it makes a certain sense that cars – like sex, like drugs, like rock’n’roll – are a hand-in-glove fit for horror.

Unsurprisingly then, when Stephen King, acknowledged master of the all-American nightmare, wrote Christine he did a damn near perfect job of deconstructing the American teenage boy’s traditional love affair with his chosen wheels and remaking it into a thing of terror. His handiwork is fully acknowledged and honoured in John Carpenter’s 1983 adaptation, which has obviously made a very close study of the original story. Christine seems to have become something of a forgotten entry in Carpenter’s lengthy filmography – certainly compared to the likes of The Thing, which directly preceded it – but that doesn’t mean it’s a bad film. It’s arguably a little lightweight in its conception compared to many of his better known works, but as early-eighties genre horror goes, it remains a pleasure to watch.

Though I’m probably biased, I admit, because I love cars. And I suspect you have to love cars to fully appreciate this film. If you’ve ever had that one perfect marque and model that you wanted more than life, if you always zero in on the stray copy of What Car? in the dentist’s waiting room, you will have no problem buying the premise that a shy, geeky young man might find the love of his life rusting away in a back lot. You can probably imagine exactly how he feels. And indeed if anything, the biggest problem Christine faces is that because its audience will recognise the sentiments at play, it has to work quite hard to make its monster an authentic monster. What’s so bad about a car that looks out for you, can take care of itself while your back is turned, handles all its own repairs and maintenance, and is quite literally willing to do anything for you? In your heart of hearts, it’s hard not to think: well, nothing at all, really. This is probably why both the book and the movie share the same slightly forced quality – Christine, the red and white 1958 Plymouth Fury with a jet black heart, is a gasoline-drunk teenage boy’s dream machine, so it takes a lot of narrative effort to make her convincingly evil enough that you’d want to see her destroyed. And for me, despite those efforts that still never quite happens; I watch this film and I love it, but definitely not for the inevitable events of the last ten minutes. Rather I love it for the gorgeous classic American cars, the mingled rock’n’roll and spine-tingling eighties synths of the soundtrack, and the visual spectacles and thrills of genuine terror that it offers. The scene of Christine running down her tormentor Buddy Repperton on an empty back road, sliding through the darkness with her entire frame wreathed in fire, chills me to the bone every time.

Since this is a John Carpenter movie, though, the other thing I find fascinating about it is the characters, because the characterisation in Christine is very, very classic Carpenter. While King’s original cast are fairly well preserved and translated to the screen, on top of this framework Carpenter has definitely added a layer of his own tendency to exaggerate and idolise the unreconstructedly macho. The male cast here are archetypal, at times two-dimensional, but believable and vital; by comparison the women, even when they impact on the plot, are unrealised ciphers who never really rival the forcefully projected and often violently expressed emotions of their male counterparts. But the all-important exception to this is Christine herself; who manages to convey more character depth with only her radio and the look in her headlights to communicate through, than do the rest of the female cast put together. This is really only fitting, however, since she is, after all, in truth the leading lady of the film. One key regard in which Carpenter’s adaptation diverges from King’s original is that King’s Christine seems to have started out an ordinary car, and the evil in her is a heritage of her previous owner; Carpenter’s, however, hasn’t even rolled off the production line before she’s showing her true bloodthirsty colours. It’s a change I like, since it frees Christine to be both figuratively and literally an entirely self-driving element of the story. Without her actions, intentions and emotions, there simply wouldn’t be a plot to begin with – the rest of the cast act and react around her, but always with reference to her and in response to events that she alone sets in motion.

And this is why, despite the fact that it’s by no means the most profound or truly frightening of John Carpenter’s movies, I’d still say Christine is well worth seeing – as it’s a credit to any director’s talents if he can take a non-speaking, non-human main character and make them believable as a narrative prime mover, and here, Carpenter successfully does just that. Sure, the movie has dated, if only because it’s so strongly located in its signifier place and time (although the special effects hold up surprisingly well) and it does conform very strongly to the mould of eighties genre horror, but if you have any nostalgia at all for that particular cinematic era, Christine is an above-par example that you might well have missed. Likewise if you’re a Carpenter fan in general; this may not be one of his signature films, but if you like his style you’ll probably still find something to enjoy here.

Just don’t watch it right before you have to do any night driving, that’s all…

By Stephanie Scaife

In the words of John Carpenter, “Cronenberg is better than all the rest of us combined,” and arguably he may indeed be correct; but what is irrefutable is that Cronenberg is the founding father and grand master of body horror, with a singular vision that is quite unlike any other filmmaker. Starting out, perhaps unsurprisingly, as a student of biochemistry (with a particular enthusiasm for entomology), he became interested in film whilst at university and later founded the Toronto Film Co-op with Ivan Reitman, who would go on to serve as producer on his early films before moving to Hollywood and forging a career as a director himself. Cronenberg’s auspicious beginnings in science are apparent throughout his films, with their central themes of mad science and its relationship to and interference with the human body, which is more often than not manipulated into something monstrous.

From Shivers in 1975 to Dead Ringers in 1988, Cronenberg had perhaps one of the greatest runs of any director, making consistently impressive and significant films that would have a massive impact on the horror genre and which proved to be eerily prophetic. Seriously, this guy is like a slightly nerdy looking Canadian version of Leonardo Da Vinci with an obsession for Freudian imagery and the deterioration of the body. From the concept of “downloading” in Scanners to the idea that technology would become inseparable from real life (“Television is reality, and reality is less than television”) in Videodrome, he was way ahead of his time. During this period of Cronenberg’s career Videodrome sits in the middle, somewhere between his early schlockers and later more mature films, and although it would never quite garner the critical praise of The Dead Zone or The Fly, it is one of his most influential films as well as being one of my personal favourites along with The Brood.

For those not already in the know, James Woods stars as Max Renn (named after Cronenberg’s favourite motorcycle) who runs a small television network out of Toronto that specialises in cheap and salacious material. Always on the look out for a quick buck Max sees the potential in Videodrome, a show picked up by a pirate satellite dish that is essentially just torture and murder, set in a single room with no plot. Max starts a relationship with sadomasochistic radio host Nicki Brand (Debbie Harry) and embarks on a mission to uncover the source of Videodrome, gradually uncovering the conspiratorial layers of its intention and origin. Gradually he starts to experience violent hallucinations, losing touch with reality.

Cronenberg was a child when the television became a commonplace household item. At that time nobody knew the long term effects of exposure to such a device, and there was a definite sense of unease around new technology. This feeling was also exasperated by the fact that after Canadian broadcasting shut down in the evening, a young Cronenberg was able to pick up television signals for the US. In interviews he has said that at the time he felt unclear as to what he was seeing and where it was coming from, heightening this suspicion of the technology and giving him the inspiration needed to write Videodrome as an adult, also perhaps giving rise to Max’s increasingly hostile relationship with his own television in the film.

These childhood experiences combined with the furore surrounding the introduction of VHS and the lack of a regulatory system at the start of the 1980’s further informed the inspiration for Videodrome. Cronenberg wanted to explore if what the censors were claiming was indeed possible; that by viewing certain material it posed potential harm to the audience. In Videodrome, however morally ambiguous and opportunistic Max may be, he is still the voice of reason, and when asked, “But don’t you feel such shows contribute to a social climate of violence and sexual malaise? – and do you care?” he replies, “I care enough to give my viewers a harmless outlet for their fantasies and their frustrations. As far as I’m concerned, that’s a socially positive act.” What is interesting though, is that although much of the film could be an argument that watching violence does have a negative effect on the viewer, Cronenberg turns this on its head by revealing that in fact the signals can be transmitted through any television programme; it doesn’t have to be the sadomasochistic snuff films shown on Videodrome, meaning that just the act of watching television regardless of the content is potentially damaging. It is instead the plan of capitalist despot Barry Convex to purge the country of the viewers who would choose to watch such programmes. Much like Max, we as the audience begin to question exactly why we have an interest in watching something so horrific, and at one point Convex asks, “Why would anyone watch a scum show like Videodrome?” which may as well be a direct question to the audience as well as to Max.

Nicki Brand is a fascinating and somewhat contradictory character. On the one hand she is a no nonsense woman who embraces her sexuality, and although a masochist, she is clearly not a victim unless she chooses to be one. Max and Nicki’s burgeoning relationship becomes focussed on Videodrome, and although reluctant in the beginning Max soon starts to see the appeal of the violence and the destruction of the flesh and as a result of Nicki’s encouragement they push the boundaries of acceptable sexual behaviour. On the other hand however, there is something not quite human about her; she is mysterious and strangely monotonous and could very well be a projection of Max’s psyche. She disappears quickly after their initial meetings and subsequently only appears to Max in visions and through his television screen. She could be read as a precursor to the age of internet pornography that we currently inhabit, where sexual deviancies are readily available at the click of a mouse and are now changing the way in which we view and experience sex. Nicki is Max’s fantasy, someone to broaden his horizons and open new doors, much like the internet (for better and for worse) has done for the masses. We are no longer tuning into secret satellite frequencies to grasp a glimpse of something subversive, instead it is part of the mainstream and everyday life. The new flesh, as it were, is constantly on the surface and no longer a part of the underground, presenting new possibilities for pleasure and perception.

One of the most striking things about Videodrome is its troubled production and how little this noticeably affected the final outcome. There were constant re-writes and even after completing principal photography Cronenberg still had no clear idea of how the film would end, which resulted in having to go back to do pick-ups and essentially editing together an ending that made sense to him. In fact the first draft of the screenplay (originally titled Network of Blood) was considerably more outlandish than the finished product, supposedly including a scene involving Max, Nicki and Bianca all with invaginated stomach gashes having a sort of orgy whereby their hands transform into mutated sexual organs. Unfortunately for all of us, due to production running behind schedule and Cronenberg being unsure of whether he could successfully create the scene, it meant that it wasn’t to be. Also somewhat surprisingly it was this version of the screenplay that attracted all of the major talent including Woods, Harry and special effects maestro Rick Baker, but perhaps that’s just testament to Cronenberg and his unique vision as a writer and director.

Even 30 years on Videodrome has much to offer the viewer. It is an audacious piece of work even for Cronenberg, showcasing some truly spectacular visual effects along with some of his trademark obsessions and visual tics. At the time it was obviously satire, but it’s astonishing (and slightly terrifying) just how accurately he predicted our present relationship with technology. Surely it’s only a matter of time now, so in anticipation – long live the new flesh!