horror blog Archives - The Void of Celluloid

Black History Month: The Legacy of Duane Jones

on February 10, 2023February 9, 2023 By thevoidofcelluloid

In recognition of Black History Month, TVOC is going to focus on notable figures throughout horror history. Horror has not been a key place for diversity, but there is progress being made. These are the trailblazers that signified and enacted change in the genre. These figures made active progress to fight against harmful tropes and stereotypes that horror films have perpetuated. Therefore, we have to celebrate them and thank them for their work and impact.

The first one we will focus on is the man behind the first Black protagonist in a horror film: Duane Jones. Jones did more than just play Ben in Night of the Living Dead; he shaped his character the way he wanted to be. However, he never wanted to be remembered only for his first role, so let’s get into his life, career and legacy.

Life Before Night of the Living Dead

Duane Jones had quite the career before starring in Night of the Living Dead. He received his B.A. from the University of Pittsburg. He went on to be an exchange scholar in Niger and taught English at Long Island University. On top of this, he developed the English-language training programs for the Peace Corps and had a hand in developing the Harlem Preparatory School. He was the head of the English department once the school was operational.

In addition to his educational work, Jones was also heavily involved in theater and acting. He directed at the Maguire Theater at the New York State University and served as artistic director at the Richard Allen Center in New York City. He had many theater roles while in New York City. After many years and at age 31, he decided to take a knack at film auditions.

Night of the Living Dead: Ben

George A. Romero has been clear for several years; Duane Jones got the role because he was the best at the audition. There was initially no political agenda with Night of the Living Dead. It was originally written as a sci-fi movie with flesh eating aliens. The original concept of Ben was a blue collared truck driver–gruff, stern and surviving using brawn, not brains. However, after Jones nailed the audition, the image of Ben started to shift instantaneously. This started with the script.

Night of the Living Dead Cast and Crew - Duane Jones

Almost all of Ben’s lines were reworked by Duane Jones himself. With Jones’ expertise in theater and literature, Romero and co-writer John Russo gladly gave over the reins. With these reworkings comes nuance and depth to Ben’s character, all of which was completed by Jones’ acting and expression. Instead of the original rough-and-tough trucker, we got a layered, complex protagonist who was aware of his Blackness in a late 1960s setting. The way that Ben was rewritten in conjunction with the original ending Romero and Russo wrote led Night of the Living Dead to accumulate a social justice message as time went on.

Ganja and Hess: The Age of Blaxploitation

Years after his pivotal role in Night of the Living Dead, Jones went continued his work in the education and theater scene. He got his master’s in communications during the filming of Night of the Living Dead. His next starring role was in a Blaxploitation film written and directed by Bill Gunn known as Ganja and Hess. If that name sounds familiar, Spike Lee recently remade this film as Da Sweet Blood of Jesus and experimental hip hop group Clipping. developed their album “There Existed an Addiction to Blood” around the film.

Duane Jones played Dr. Hess Green, who is stabbed with an ancient dagger by his unstable assistant. Due to the stab, he is turned in to a blood craving vampire. Ganja is the assistant’s wife, who is widowed soon after the maiming. Hess is quickly infatuated with her and determined to turn her so they can be together. Both Jones and his co-star Marlene Clark knock their respective roles out of the park. The vampirism in this movie is a brilliant metaphor for addiction, it comes through in both of the tragic protagonists. In the few films Jones’ starred in, this is one of his breakout roles.

His Later Career: Losing Ground, Vampires, TO Die FOR

While Losing Ground is not a horror film, it needs mentioning when discussing Duane Jones and Black film history in general. Losing Ground was the first feature film directed by a Black woman since the 1920s and was recently selected for preservation by the Library of Congress. After Losing Ground, Jones focused primarily on theater. He worked heavily with the Black Theater Alliance to promote work around New York City. His last two films were two other vampire flicks in which he carries but weren’t truly notable: Vampires and To Die For.

Kathleen Collins's Lost Masterwork, “Losing Ground” | The New Yorker

Duane Jones died suddenly due to cardiac arrest at the age of 51–way too soon. In terms of legacy, it is undeniable that he is a trailblazer through and through. However, it took ages for another key horror film to have a Black protagonist at the helm of their movie. Duane Jones’ name lives on today. The recital hall at New York State University is named after him as well as a character in The Walking Dead. He is truly a legend.

What’s Next

That wraps up the brief overview on Duane Jones. There is something in the works to discuss Night of the Living Dead overall given the 55th anniversary is swiftly approaching, so stay tuned for that. Visual media has been on a pause as of late. However, you should go check out TVOC’s TikTok as more content will be coming shortly. There will be a week pause next week for articles. However, expect more articles following that break. 2023 is turning out to be a great year for The Void of Celluloid, so be sure to stay tuned.

Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.

A Toast to the Creative Kill: Raise a Glass to Freaky

on February 8, 2023January 31, 2023 By thevoidofcelluloid

A shared experience for every horror fan is sitting in the theater for a new horror film that they already know how it’s going to end. Whether it be too much advertisement or the writer’s pitfalls, it can be a semi-disappointing viewing experience. The viewer doesn’t necessarily want a M. Night Shyamalan sized twist at the end to prove themselves wrong–they don’t really care if they’re right–but they would definitely appreciate some spice to keep the experience enjoyable. There is one technique that can be a saving grace for a horror film: a creative kill.

Horror will remain one of the more creative genres on the film spectrum. However, there is monotony that future creators are trying to dodge when releasing a new film out into the world. One of the genres that faces the most monotony is the slasher genre. With its never-ending sequels and reboots, it seems like all the kills of characters that you care less with each film never hit quite as hard as watching the original. Even A Nightmare on Elm Street with its dream realm lost its spark as the sequels seemed to go on and on, despite its open availability to do something new and out there.

Creative kills are a thing that horror creators do to engage its audience. It surprises them in moments rather than the whole plot. Sometimes it works better than trying to add a twist that people end up anticipating in the first place. I can save a film too. If a viewer remembers a certain death, even if they didn’t enjoy the film as a whole, that could be considered a win.

Warning: Spoilers past this point

BREAKING THE VIEWER’s TRUST

While a horror fan knows not to get too close to any characters in their favorite horror series, it happens anyways. They want the best for these characters ultimately. When it comes down to their brutal death, there is a powerful emotion that comes with it. Sometimes they don’t see it coming. Most of the time they do see it coming and convince themselves that the writers simply wouldn’t do that. This is what makes this technique the cruelest of the creative kill.

Fear Street: 1994

These attachments are usually side characters that shine just as bright as the main character. A main example in recent times is Kate in Fear Street: 1994, which is one of the most unfair and creative deaths I’ve seen in the recent years. Kate is lovable. She and her best friend Simon have some hilarious, if chaotic, moments together that just makes the audience care and love them more.

As the film arrives at the final grocery store showdown and the Skull Face Killer locks her in a chokehold, the film convinces the viewers she isn’t going to die. She had escaped death too many times to count prior in the movie, she has to get out of this. He slams her down on the table and her head slides closer and closer to that bread slicer. The film convinces the viewers once more someone will save her since this team is always looking out for each other, and her screaming her head off has to attract one of them to help her. All that hope shatters into pieces as the audience gets a close up shot of her head becoming shredded by this once ordinary, now malicious machine.

Scream 2

Another way to shock the audience is killing off what seems like a quintessential-to-the-plot character. In recent years, the fake-out death of Marty in The Cabin in the Woods is an example of this kind of kill. The one that has stuck with many horror fans however was the killing of Randy in Scream 2.

Lovable, adorkable Randy who was an easy target in the first film but delivered very necessary information on the tropes of a horror film that saved a lot of his friends’ asses. He, like us watching a horror film, knew what pleasant predictability felt like; the first Scream is chock full of pleasant predictability with its main but effective curve being there was a second killer and it was Stu. With its equally enjoyable sequel, we think we are just as self aware as Randy. Therefore, we together are not susceptible to the killer’s tricks.

All of those comforting feelings go out the window, or rather into the back of the van when Ghostface murders Randy in broad daylight with Gale and Dewey so close by. Upon each viewing, the kill is just as devastating as it is the first time. A die-hard horror fan relates the most to this character, and his death dismisses the belief that his knowledge and self awareness alone could keep him alive for another round.

The extreme: Torture porn versus arthouse

There are two genres that have the same level of brutality most of the time. They differ so heavily from each other. The genres are arthouse horror and a genre lovingly known as torture porn. Both feature disturbing images and scarring scenes, but a film that completely relies on tolerance to gore doesn’t mean it’s the most creative. The best horror movies are ones that non-horror fans can watch, in my opinion. It doesn’t mean that they won’t come out unscathed– some of the mentions on this list are disturbing–but it’s not watching people die in bloody, gruesome ways back-to-back.

Torture Horror

These types of films have their fanbases, and I am not invalidating their feelings towards these films. In regards to their accessibility , their grisly goriness earns them their praise rather than storyline. This does not mean that the kills in these films aren’t creative, they are overly creative. However, they lose their impact by having so many creative kills back to back. It allows a new kind of unpredictability that creates excitement for what bizarre thing will come next , which amps up fans of torture porn. This allows for some creative error, because while a lot of these films continue to have out of the box moments, the excitement with each sequel dims and dims as each sequel falls short.

An example of this last year is Spiral, the Saw reboot. While this film was sadly hindered due to movie theater closures due to COVID, there was an overall complaint about seeing things that have already been done before in the franchise. In a series full of traps that are made of the masses’ worst nightmares, it a risk to make so many movies which ultimately turn away a general crowd due to its brutality and turn away its cult following due to running out of ideas. You can see this same progression in many of Eli Roth and Rob Zombie films too, meaning that going to the extreme all the time can burn out the creative spark that make this gory flicks tick.

Arthouse Horror

Another genre of film that can be hit or miss but can teach the torture porn genre a thing or two about how frequently to use creative kills is the arthouse horror genre. The obvious recent examples are films such as Hereditary, Midsommar and The House That Jack Built. These films can exhibit as equally creative and disturbing scenes as the torture porn films, but these films use a one-and-done method. They’re films where it is okay if they’re not watched again, since they can be deeply disturbing, even for the most desensitized horror fan, but there is no hinderance in watching it again, as most of the time there is opportunity to understand and see more than one saw in the first viewing.

Comparison

While most arthouse horror have things that are odd and out of the usual, it is usually in a slow burn format rather than the fast-paced timing of torture porn movies, which allows for a break from the gore but also creates a foundation of dread to build upon during the film’s usually longer runtime. Much like the grisly films mentioned above, these films are not everybody’s cup of tea, but they are the films that are shaping the horror scene. More mainstream films follow the influence of arthouse horror, which includes the films from recent horror powerhouse Jordan Peele, who utilizes disturbing images and creative kills to his benefit in both of his films Get Out and Us–specifically the use of the giant scissors as well as the deer head stabbing.

Overall, both of these genres have changed what modern horror fans are looking for in horror films. Whether it be an out-there arthouse film or a grisly never-ending death hour, both genres hold heavy influence over the modern-day horror film, with viewers seeking out more and more creativity in the standard mainstream horror films that come out year after year.

Conclusion

It is undeniable that the use of creative kills defines what the horror genre. It also separates it from the similar thriller genre. When used correctly, an out-of-the-box kill can shake things up for a seemingly predictable movie. This can be used to the enjoyment of the general viewer and the horror fan, even if it involves some broken hearts along the way (I’m still not over Randy’s death). However, when used too often, it can alienate both the casual horror viewer as well as its cult follower. Nonetheless, it is an essential technique that is used by the best horror filmmakers out there and is a one stop shop to make a horror film memorable.

creative kill creative kill creative kill creative kill creative kill..

The Modern Horror Series Does It Right: Queer Representation

Featured By thevoidofcelluloid

Has everyone rehydrated after sobbing their eyes out? Before we get started, we’re going to talk about the third episode of The Last of Us, so take caution as plot points will be discussed. We’ll also be discussing The Haunting of Bly Manor, which you should watch if you haven’t already. If you haven’t already put it together with the title and the two series, we’re discussing queer representation in horror series.

As a queer woman that consumes horror media like a child consumes candy, queer representation has been quite a hit or miss. We’ve had American Horror Story, which has the representation in numbers but is riddled with stereotypes and biphobia. Before the 2010s, there were films that were had implicit queer representation. Recently, we’ve had Jennifer’s Body and it can be traced all the way back to the 1960s with The Haunting. However, the 2020s have given us two distinct queer relationships that shine through the tragic settings. We’re going to discuss them individually.

SPOILERS ARE DISCUSSED FOR THE FOLLOWING: THE HAUNTING OF BLY MANOR, THE LAST OF US, THe Walking Dead, supernatural, killing eve, game of thrones, The 100

The Haunting of Bly Manor: A Sapphic Love Story

2020 started off as a vile year full of sickness, death and depression. However, one thing I was looking forward to was a new Mike Flanagan series. The Haunting of Hill House rocked my world on its release. It too had fantastic queer representation, though it wasn’t the forefront. The Haunting of Bly Manor was a different beast. Time looping, confusing and fascinating–it was an experiment that paid off content wise. What I was not expecting was crying so hard I felt like I was going to throw up over the storyline of Dani and Jamie.

Examining Dani and Jamie's Beautiful and Heartbreaking Relationship in THE HAUNTING OF BLY MANOR - Daily Dead

Their Sapphic love story can be summed up in a Taylor Swift song title: sad, beautiful, tragic. Heterosexual love stories thrive on the will-they-won’t-they tension that grows over a story arc. This time, we get to see that explicitly through two women. There’s no drama around the circumstances on how they’re in love. There’s also no dramatic coming out sequence that verifies that ‘allows’ them to fall in love. They are simply falling in love like a typical romance we’ve seen on screens before–and it was refreshing. Before I delve into it more as well as compare it with episode 3 of TLOU, let’s get into how these tragic love stories are not in coherence with a harmful trend in media.

Bury Your Gays: A Harmful trope

While both of the storylines I’m discussing end tragically–in one or another’s death–these do not fall into the ‘bury your gays’ trope. ‘Bury Your Gays’ comes from the trend in media of an LGBTQ+ character finding happiness and then, in a shocking, unnecessary turn of events, they are killed off. This usually comes out of nowhere, and it’s a cheap trick to make a bunch of people cry and get upset as if it was some shocking plot twist and intended from the start. It’s lazy writing and seems like a cop out from writers–almost like they’re scared of writing a queer experience themselves and won’t bring in writers to finish out a character’s storyline.

Examples of this trope being used: Charlie in Supernatural, Villanelle in Killing Eve, Denise in The Walking Dead, Poussey in Orange is the New Black, Lexi in The 100. One even involves Pedro Pascal with the death of his character Oberyn Martell on Game of Thrones. All unnecessary in the scheme of plot and brutality.

The Haunting of Bly Manor and The Last of Us did not do that, however. It ended sadly and in deaths, but we got to see them fall in love and be happy. There was no tragic ‘cusp of happiness.’ They were happy. They were in love, and it was on display. It didn’t end on shocking nor surprising terms. We knew what was going to happen when the bad things began–it was not to shock the audience. This led to true grief and no anger towards the writers–they did it right. They also did it in less time than the worst writers that draw out their queer character’s storyline only to kill them off.

The Last of US: Long, Long time

The Last of Us already had me impressed, but nothing took my breath away quite like this episode. We got a two-decade love story in 60 minutes, and it was something beautiful. We follow Bill and Frank, who weren’t fully fleshed out in the game–Frank was already dead when we meet up with Bill. This allowed for a lot of flexibility with his story and how to adapt it to the screen. What we got was a sweet, gentle love in a messed-up world. We saw them bicker about paint, we saw them laugh and eat strawberries. We saw them spontaneously and thoughtfully in love.

The queer romance between Bill and Frank is beautiful.

The end of their story is a tragic one. It is not violent, however, as someone may expect in a zombie-style show. There was no such thing as a gentle death on The Walking Dead. Bill and Frank got to grow old together. They discussed how scary love is. They talked about queer sex like it was sex–we saw that first time awkwardness on screen. It was relieving to see something so endearing about a queer relationship without fetishization or stereotypes. It was pure love like every relationship should be. There is a reason “Long, Long Time” is being compared to the Pixar movie, UP–it was a life complete we were mourning.

Comparing Bly manor and Long, long time

There isn’t much more to say in comparing these two, other than we have a queer love story that ends tragically by forces out of their control and another queer love story that ends tragically in a good way. It was not death for drama. Their deaths were meaningful and inevitable–either by the cruel curse of the Lady in the Lake or by a man not letting the love of his life die alone. Queer representation can always improve; however, it seems like The Last of Us took from notes from media that came before it. They approached Bill and Frank’s story with the same melancholy delicateness that Flanagan did with Dani and Jamie’s.

How Bill and Frank Are Queer Representation that isn't 'Bury Your Gays'

As I’ve said before, queer stories should not be solely about the common traumas. Not every LGBTQ+ story needs a dramatic coming out story nor do we need to watch the character we love bullied and terrorized. The community already deals with those things enough. If TV is meant to be an escape from it all, every piece of media that represents us shouldn’t focus only on that. We want to see romance and comedy. Drama that is about universal stuff. These shows are not released to push a ‘woke’ narrative. If you’re claiming it is, you need expand your horizons and stop watching things that cater only to you.

The love stories here are sad and magnificent–and we got them from the horror genre. I think I’m going to love them (and cry about them) for a long, long time.

What’s Next

I still haven’t recovered, and I don’t plan on doing so. TikTok also won’t let me go–I keep getting bombarded with the most beautiful, sad edits of those two. The Void of Celluloid is on visual platforms with regular content. Therefore, check out the TVOC TikTok and Instagram. It is Black History Month as well as Valentine’s Day coming up, so I am going to do a few articles here and there about Black horror cinema and television as well as some recommendations on what to watch for the holiday and over the course of the month. Stay tuned for that.

Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here. You can follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.

What’s Coming this Month: February 2023

on February 3, 2023January 31, 2023 By thevoidofcelluloid

We made it through January and here we are in February. While February can be sleepy for film releases, there is plenty in store this month, especially on streaming services. There are only two non-new releases (at least in wide release) on this list of what’s coming this month. There are highlights this month–such as Cocaine Bear–and there are questionable releases. However, it’s worth noting what is coming out and when. Check it out below.

Coming to Theaters

February 3rd: Knock at the Cabin

The latest M. Night Shyamalan film is upon us as of today. Its trailer insists it will keep you guessing, but does that have to be said for his films? Known for their iconic twists, I don’t think so. With a star-studded cast, notably the return of Rupert Grint to the silver screen, the performances will carry this film. However, I haven’t gotten my hopes up for a Shyamalan film in a while, so I don’t know how this one is going to go. February is a dry month for films anyways, so this might be your best option.

February 15th: winnie The Pooh: Blood and Honey

Winnie-the-Pooh: Blood and Honey Trailer, Cast & Everything We Know So Far

Oh boy. The stories of A.A. Milne have recently become public domain, and Disney doesn’t fully own the rights. Within that loophole came this film, which will wreak havoc on us in a few weeks’ time. I don’t really like having my childhood messed with in this way, so I don’t know what to say about it all. However, I hope it delivers on camp and ridiculousness, because there’s no way to make a serious film with this concept and if they try, it’s not going to go well. I am terrified and horrified–Pooh Bear would never.

February 24th: Cocaine Bear

Speaking of bears-that-would-never, I am excited for this film. Elizabeth Banks is pulling the reigns for this creature feature, in which a drug fueled incident turns an unassuming bear into an apex predator. While the real story it is based on is quite sad, it seems like we’re going to lean into the ridiculousness by personifying the bear and framing it as a horror comedy from the get-go. It looks violent, it looks funny, and it looks absurd. I’m here for it and its coked-up nonsense.

Coming to Streaming

February 1st: Cooties on HBO MAx

This is not a new release; however, it is one that was unsung. Cooties is a legitimately funny zombie film that is oriented around children. I assume that it didn’t reach peak popularity due to the implied violence towards children, however they’re chicken-nugget-turned zombies. Kick back, have fun and laugh at this amazing ensemble cast playing distressed elementary school teachers that end up in a deadly mess.

February 2nd: Skinamarink on Shudder

How 'Skinamarink' Became the Internet's New Horror Movie Obsession - Variety

This was mentioned in my last monthly lineup, but it is to be noted that it is finally getting its streaming release. This experimental indie horror is still making waves, and its recent box office success with its limited release is a feat in its own. Whether it is up your alley or not, it is impossible to deny that this is revolutionary for indie horror and how word-of-mouth can get you so far, especially on social media. Boo for pirating in its early stages, but yay for a wide release after so much anticipation.

February 9th: Piggy on Hulu

This film made waves in the festival circuit. The Spanish horror-thriller is coming to Hulu early this month. It is a film that focuses on obesity and bullying and has a morally tricky story at its core. When an overweight teen witnesses her regular bullies snatched up by a kidnapper, will she admit what she saw or protect the person that put a cease to her daily torment? It’s a puzzling dilemma that garners moral questions and sympathy. It’s uncomfortable and unruly, much like high school in general.

February 14th: Halloween Ends on Amazon Prime

It is not jailed on Peacock anymore. Halloween Ends is coming to Amazon Prime. While this film is incredibly disappointing, it is worth watching to receive closure on this new trilogy and the overarching legacy of Halloween in general. It might be a hate-viewing, but it’s a viewing that is included in a service you already pay for. Therefore, it will hopefully continue the message of not wanting any more Halloween films. We’ll see.

February 22nd: The Strays on Netflix

This film looks interesting and if you’re still around after the Netflix crackdown, it should be at the top of your list to check out. It looks as if Jordan Peele and Ari Aster collaborated on a movie, which is intriguing and terrifying, nonetheless. However, the trailer and synopsis didn’t make it clear what this is necessarily about–not a bad thing but leaves expectations a little muddled. Keep an eye out for this when it drops.

What’s NExt

Next post is going to be discussing the third episode of The Last of Us and how we’re getting some amazing queer love stories from the horror genre. Also, as it is Black History Month, I plan on also going into the convoluted and complicated history the horror genre has in regard to tropes and lack of representation and how it’s improving drastically. As for day-to-day stuff, TikTok has been popping off with recent videos and discussions about remakes, online horror and more, so be sure to check that out.

She is the Moment: A Review of M3GAN

Featured By thevoidofcelluloid

January is usually a dud for horror movies. They are low budget and usually low effort, leading to box office bombs and terrible, forgettable pictures. Therefore, it is a shock when we have a film in theaters that has people buzzing. It’s positive buzz as well, rather than the so-bad-it’s-good kind of buzz. Therefore, I had to go see for myself if it really is what everyone is making it out to be.

It ended up being all I wanted. The latest release from Blumhouse: M3GAN is the moment, and exactly the moment we needed this January. With its only big flaw being the first act, M3GAN is a worthwhile one-time watch that will make a great franchise for Blumhouse to expand on and also encourage the company to go with more independent projects due to this financial success. Let’s get into it.

When it’s meta, anything goes

The biggest factor that led to my enjoyment of M3GAN is its self-awareness. It never takes itself too seriously once it kicks off and knows what people want and expect it to be. Sometimes when films are anticipating poor or lackluster reception, they brace themselves and try to throw in some major twist in hopes things seem profound. Nothing is worse than watching a film that doesn’t know it’s a bad film.

M3GAN clearly anticipated its reception and instead went the meta route. This allows a film to laugh with us rather than just us laughing at it. It knows exactly what it wants to be and knows what we expect it to be, therefore it’s going to give it all to us unapologetically. What we get is a film filled to the brim with camp, but its message doesn’t get lost in all of it because it allows us to laugh and interact with it. It’s playing with its audience the entire time.

And the OScar Goes to… the girl who played M3GAN!

New M3GAN Featurette Serves As Reminder For M3GAN's Imminent Arrival - Fangoria

Yet again, we have another example of younger actors knocking out of the park, and then some. We have another complex, kind of cold character in the always brilliant Allison Williams. However, I’m giving the credit to Violet McGraw who played Cady as well as the two actresses who collaborated in creating M3GAN herself: Amie Donald and Jenna Davis. The physical comedy of this film is top notch; therefore, Amie Donald deserves so much credit for playing such a crazed, unhinged AI android. There is a scene in which she full on runs on all fours that had me cackling and impressed that someone could do it so smoothly.

On top of that, Jenna Davis contributed her vocal chops quite a few times–which is arguably my favorite moments of the film. Whenever M3GAN broke out into song, I wheezed. On top of the delivery of M3GAN’s dialogue, the film knew that the robot was the star of the show and casted it accordingly. Paired with some more over-the-top performances from the gullible people asked to back M3GAN’s development, the performances really sent this film home after, again, a slow start.

The Dangers of AI: The MEssage REmains

Exclusive Clip: Watch M3GAN Show Allison Williams Who's Boss – Rolling Stone

Was I laughing almost the entire time? Yes. Was the meaning lost in all of it? Absolutely not. M3GAN has a very crystal clear, Black-Mirroresque message of the dangers of AI and becoming attached to technology. It also has introspection on grief and trauma with talks of attachment theory and children’s exposure to unfiltered technology for too long, too early. Whether it be Gemma’s diminishing empathy due to overworking with robots or Cady’s extreme emotional attachment to M3GAN, the message is heard loud and clear.

One of the most important parts of this movie was M3GAN confronting Gemma on messing with code that Gemma herself didn’t understand. It is a harsh reality of AI–almost every unmoderated instance developed much faster than expected. If AI is unchecked, it could turn dangerous really fast as a ‘conscious’ should not have access to all of this information. We also shouldn’t rely on AI to provide us things either. AI art may seem harmless, but we don’t know the extent of how much data it consumes and how many adjustments these systems have left before they’re out of control of the people who made them.

Final Verdict

M3gan: Solid 7/10

While I sing its praises high, M3GAN is one of those films that will remain great if we keep the amount of watches low. I think it is a highly effective first-time watch with unsurmountable camp. However, I don’t necessarily want to go through the first fifteen minutes of the movie again, as that part was the weakest part of the whole thing. They’ve already set a sequel up for M3GAN. It quietly started production and announced itself opening weekend. I think this is the first time that a franchise is a smart move, as its villain can be in different mechanisms. Also, I want to hear “Titanium (M3GAN’s Version)” one more time.

What Final Girl are You?

Featured By thevoidofcelluloid

Whilst juggling life, I have gone to the textbook of variety article pages–the standard quiz. Yes, this is in the theme of a Buzzfeed quiz, but hang with me. It’s all about horror: specifically final girls. I love these kinds of quizzes and they will a remain a guilty pleasure.

Ever wanted to find out what final girl you were? Well, The Void of Celluloid has you covered. Short but sweet. Find out using the quiz below and see if you get what you expect. There are ten different results ranging through the years, so try your hand if you’re like me and get the answer you truly want. The Void of Celluloid also has a whole article on these lovely ladies that you can view here if you’re itching for more: The Final Girl: How Wes Craven Saves the Day.

What’s Next?

Not much to say on this sleepy Wednesday other than praising the final girls, but coming up on Friday is TVOC’s review of M3GAN. After weeks of trying and failing, I was finally able to catch it in theaters and I have plenty of thoughts on it. Be sure to look out for that. The Void of Celluloid has new articles every Monday, Wednesday and Friday. As for other platforms, I post daily on TikTok and Instagram, so be sure to check those out and follow for more content. There is no harm having more horror in your life.

The Last of Us Delivers Convincing, Heartwrenching Horror

on January 20, 2023January 17, 2023 By thevoidofcelluloid

I think there has been a hole in my heart for a good zombie show. The Walking Dead fell off the wagon years ago for me personally, and Netflix wrongfully cancelled Santa Clarita Diet. However, when HBO announced an adaptation of one of the greatest video games of all time, The Last of Us, I was tracking it like a hawk. I also had some concerns about it, because there is a bad reputation for video game adaptations.

It premiered this Sunday. Oh boy, it does suffice that show hole and reopened old wounds caused from the game’s initial release nearly a decade ago. The Last of Us is even better with more context and honors its source material in the best way a game-TV adaption could. It also teaches a lesson on how a game can lay out cinematic scenes and they shouldn’t be messed with. Spoilers from Episode One/Beginning of the Game will show up in this discussion, so here’s your warning.

The Casting: Could fill a bucket with my tears

The Last of Us announced its casting of the two leads a while ago, and it already seemed to be a perfect fit for Joel and Ellie. I have been shivering with anticipation ever since. Not to mention that HBO was already stomping ground for Pedro Pascal and Bella Ramsey. Both starred in Game of Thrones and delivered in their respective roles–Pedro Pascal’s Oberyn has one of the most disgusting/memorable deaths in the entire series. Knowing their capabilities makes them a shoo-in for Joel and Ellie, who are deeply complex and traumatized.

The Last of Us | Official Website for the HBO Series | HBO.com

The icing on the cake is the casting of the supporting characters. Watching it all come together in the premiere was a satisfying yet deeply harrowing experience. Even (I would say especially) the casting of Sarah was perfect. It laid down the foundation for a perfect emotional setup for the rest of the show. The first half of this premiere was anticipated by many fans. It was just as heartbreaking if not more, and that is mostly due to Pedro Pascal and Nico Parker delivering on the father-daughter relationship in the short time they had. Tears were shed–lots of tears.

The Context: Adding to an Adaptation doesn’t need to be bad

Some concern was the length of the show and the inkling that something might change. It is common that adaptations stray from their source material, which can occur in both good and bad ways. Horror fans have been wounded before with adaptations of Silent Hill and Resident Evil going south time and time again. Unnecessary backstory can be a drag. However, if what is added adds gravity to the situation and makes the content stick the landing, I am all for it.

The Last of Us | Sarah's Death (Scene Episode 1) - YouTube

The Last of Us did just that. The way this show opens grounds the show in our reality with a brief explanation of the fungus and how something like this could happen. If climate change wasn’t harrowing and terrifying before, this takes it to a new level. On top of some logical explanations, we get some emotional backstory. When you’re playing a video game, you are more attached to the events going on rather than simply observing it. For the beginning to deliver, there needs to be some context. Sarah’s death is significant to Joel’s character, and the context to the events and how close their relationship was necessary.

Capturing the Game: Don’t Change Those Shots

The Last of Us remains one of the most cinematic video games out there. The shots were laid out for any adaptation to come. Therefore, there was a bit more concern than usual on how the creative vision on the show creators were going to mesh with the existing source material. The show runners seemed to be aware of this concern. The Last of Us is truly breaking that game-to-show adaptation curse simply by not messing with its source material.

Who plays the TV host in HBO's The Last of Us? Meet Josh Brener

The truck scene in the premiere is a near shot for shot recreation of the game’s opening. Watching it replicated with real people caused me to react like I was watching it again for the first time. When something is able to recreate that first time feeling, it’s a home run for me. The gasps of shock that would come out of my mouth even though I knew what was going to happen were loud. It shook me to my core, and it’s been a long while since an adaptation was able to do that for me. I can only hope that it continues to do so.

What’s Next

That is my brief thoughts on The Last of Us, which will be airing on Sundays on HBO and available to stream on HBO Max. What did you think of that first episode? Let me know down in the comments. Who knows what other horror games they will adapt, but I am expecting an Outlast adaptation down the line–if they’re willing to go there. I also would love to see a Silent Hill TV adaptation because those brilliant games need a redo. As far as what’s next on The Void of Celluloid, some reviews and other listicles are sure to be on the horizon, but currently we are the most active on TikTok and Instagram, so be sure to check those out.

Thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.

So Bad It’s Good: The Modern Creature Feature

on January 18, 2023January 17, 2023 By thevoidofcelluloid 1 Comment

As we all know, not every creature feature is going to be Jaws. Sure, there was a time that they tried to be and failed. However, the more they failed, the more self-aware they became. The quality of a film is not linear, but rather circular. The polar opposites are bad and good, but there are grey areas present. There’s a reason that when films reach a certain level of bad that they become good again.

It is simply due to absurd comedy. These so-bad-they’re-good movies have things that are so insane or stupid that causes us to laugh harder than if we’re watching a traditional comedy. Bad CGI, cheesy dialogue, and ridiculous plot points contribute to this ultimate factor that makes these creature features guilty pleasures for majority of us. They are the movies we watch when we want to laugh and react in complete disbelief. So here are a few of those ‘bad’ films that are some of the most entertaining and hilarious watches to this day.

Zombeavers (2014)

Zombeavers' Review: Surprisingly Not a Porno, But Still Fun - High-Def Digest: The Bonus View

Yes, the villain is given away in the title. Zombeavers is exactly what it sounds like, and it is truly a delightfully stupid movie. It is self-aware, so it is comforting to laugh when you know the creators were in on the joke. This one is personally my ‘least favorite’ of the list, but it still is a fun time. The setup is typical–horny college students on vacation are terrorized by a sinister entity. This sinister entity just happens to be zombified beavers.

Not only is there zombified beavers, but there are also Werebeavers, which are actually disturbing. However, the zombie beavers are bloody, glorified hand puppets for majority of the movie. They also hint at zombie bees at the end, so there might be a sequel down the line titled ‘Zombees.’ These kinds of films can go on forever, but Zombeavers is in fact worth your time if you’re down for campy, raunchy fun.

Godzilla (1998)

You can’t mention so-bad-it’s-good films without mentioning this monstrosity. I personally grew up with the 1998 Godzilla, and much to my mom’s dismay, I loved this movie as a little kid. It was scary, but exciting–but I had low standards as a four-year-old. I watch it now, and oh boy, it’s terrible. However, the cheesiness in this film makes it watchable and more importantly, it makes it laughable. It’s a cinematic mistake that we should never forget as it is Hollywood’s first portrayal of the monster.

The odd choice of Matthew Broderick paired with the weird ‘fivehead’ that Godzilla has are some of the glaring issues. However, if you think about it in terms of Ferris Bueller fighting a T-Rex mutant, that’s the stuff dreams are made of. It is one of the most cliche action movies of all time, but there is a reason it remains on television to this day. It’s in the same category as Waterworld: you don’t seek it out, but you will watch the whole thing if you come across it accidentally.

Eight Legged Freaks (2002)

Wait, is that ScarJo? Why, yes, it is. Eight Legged Freaks is an oddball horror comedy that is exactly what it sounds like. Freaky spiders. In fact, freaky, HUGE spiders. This resided on Netflix for the longest time when they started Instant Streaming, so you may have watched it once upon a time. It demands a revisit however, because this film is highly underrated for what it delivers.

Eight Legged Freaks' Remains a Criminally Overlooked Horror Comedy - Bloody Disgusting

It’s genuinely creepy for arachnophobes, as the design of the spiders are borderline gross. However, with the Syfy style graphics and the ridiculous plot, it makes for an undeniably entertaining watch. It has a similar comedic timing to Tremors, so there is sure to be a few belly chuckles that the movie intends. It knows it’s a ridiculous creature feature and lives up with the rest of them on purpose rather than by accident. This one is hugely underrated in my opinion.

Lake Placid (1999)

This one is my personal favorite. Lake Placid is a fun film that has a stacked cast–not the main stars though. I’m talking about Brendan Gleeson and the late and more-than-great Betty White. Both of these actors steal the show and paired with an obnoxiously gigantic crocodile, you’re in for a hilarious treat. Lake Placid does suffer in dialogue and doesn’t explain where the thing came from, but it’s here and ready for some carnage.

Betty White is actually the instigator for a lot of the events in the film. So not only does she bless us with her presence, but she also blesses us with her badassery. I miss her. The effects here are actually not bad in comparison with the other films–which makes it stand out and make the future special effects engineer in me happy. Most importantly Lake Placid is the film that brought Betty White back into the mainstream, and I couldn’t be happier about it.

Deep Blue Sea (1999)

This is the film that comes to mind when I think of so-bad-it’s-good movies. Deep Blue Sea is hilarious and outrageous in all of the best ways. In fact, it’s insulting to even think that Sharknado is the top so-bad-it’s-good film. To start it all off, the cast in this film is fully loaded. I mean, we have LL Cool J, Samuel L. Jackson, Stellan Skarsgard, Saffron Burrows and Thomas Jane. Therefore, no matter how bad the writing is, we’re still guaranteed something entertaining because these people are known for acting their asses off–whether it be in a good or bad way.

It also has one of the most iconic speech scenes in film history, and we don’t even get to see him finish. Paired with some of the worst computer-generated sharks you’ll ever see, this film is a cheesy classic that is a rite of passage for any movie fan. This film paved the way for those SyFy films we all know but will most likely never watch. However, it’s a badge of honor to have this film on your shelf.

What’s Next?

This concludes my summarization of the five creature features that come to mind. I know there’s plenty out there that I haven’t even touched on, but I would love to hear which creature feature is your favorite–both in the good and the bad way. Currently, The Void of Celluloid has been very active on TikTok and other social media, so if you prefer your daily dose of horror in small video shorts, go and check that out. Stay tuned for my review of M3GAN and hopefully Skinamarink this month as I seem to have a reason to go see a horror film in theaters in January. Maybe the curse has finally been lifted.

The Void’s Top Ten Horror Films of 2022

Featured By thevoidofcelluloid

It was a fantastic year for horror this previous year. Nearly every month, something notable dropped. Sure, we had some ugly ones (I’m looking at you, Texas Chainsaw Massacre), but we also had some great ones. 2022 is going to be a year that we talk about when we look back on film history, and horror is a standout genre in that discussion. My top three picks will remain in people’s mouths for sure. Due to awards season always looking bleak for this genre, I am taking it into my own hands to give these films the praise they deserve.

Already looking forward to the new year? I also talked about my top five most anticipated horror films for 2023, which you can check out here. If you would rather a starter guide to horror and have no idea what I’m on about, I made a series just for you, which you can check out here. Nevertheless, let’s move on and discuss my top ten picks for this previous year.

10. The Black Phone

The Black Phone' review: Ethan Hawke embodies fears of Stranger Danger generation | Mashable

While I consider this one more of a thriller, The Black Phone stands out this year for the outstanding performances it provided. Not only did Ethan Hawke kill it as the diabolical Grabber, but its two lead protagonists are sure to be rising stars. Sure, this film did have its plot holes, but it is easily corrected by imaginative autofill or reading the source material, which is a quick read. A slow burn in an entertaining way–I was a fan. You can read my review for this film here, but there is definitely enough here to make my top ten.

9. Studio 666

Foo Fighters Made a Horror Film. Because Why Not? - The New York Times

Speaking of endearment behind films, Studio 666 is a beautiful, hilarious ode to the Foo Fighters and what they were and still are. Taylor Hawkins was a tragic loss this year, and it happened so quickly after the release of this celebratory film. However, it is honestly a heartwarming and heartbreaking tribute to the glorious friendships in that band. It’s still a fun watch however, with goofy scenes followed by grisly kills. I definitely don’t recommend it to the merely acquainted fans, but if you’re in on the jokes already with the Foo, then you’re in for a grand ol’ time.

8. Watcher

Watcher was a fantastic watch. This is Chloe Okuno’s debut feature film after co-directing V/H/S ’94, a fun anthology from the previous year. Her and Maika Monroe are a match made in heaven as a shocking, disturbing tale takes form over a fast hour and a half. The paranoia you will feel during this film is exemplary and will have you checking out your windows for suspicious activity–or make you too scared to even do so. This was a terrifying watch when I lived in my downtown apartment.

7. Sissy

I just recently reviewed this film right here on TVOC, so be sure to check it out if you want some more details. Sissy is the unsung hero of 2022. A smaller, indie film that was released as a Shudder exclusive made me laugh and gasp the whole way through. It’s the first horror film that accurately spoofs the influencer generation in the best way without making fun of the concept. It also is an introspective look on trauma and how severe things can get if its triggered. While that might be in a satirical way, there is still some endearment behind it all.

6. The Menu

Alright, this one definitely leans more towards the thriller-comedy, but the concept alone is horrifyingly brilliant that I had to include it on this list. No, this film isn’t about cannibalism like the trailer made it seem like it was, but rather about the horrors of the service industry–something that a lot of us can relate to. There are brilliant performances all around in this movie, the story is exciting, and it is full of twists and turns. This film is available for streaming on HBO Max as of January, so watch it as soon as you can. It is just as good on the rewatch as well. This one isn’t in my top five only because it is barely horror.

5. Bodies, Bodies, Bodies

Bodies Bodies Bodies: The Void's Top Ten

This one looked like it might have been a stinker this year, but it ended up being one of my favorites. Bodies, Bodies, Bodies is a brilliant horror comedy that has one of the best twists I’ve ever seen in a horror movie. While the first twenty minutes of this movie take a while to get going, you’ll be hooked once it kicks off. If you’re skeptical throughout, I beg you to wait for the ending. It clicks everything into place and steps it up from a fun time to a great, hilarious time. This one has stuck with me and made it pretty high on my top ten list.

4. Fresh

Who knew dating could be just as horrifying as cannibalism? This one IS about cannibalism, even though the first twenty minutes play out like a traditional romcom. Sebastian Stan and Daisy Edgar Jones deliver a performance that leaves you on the edge of your seat throughout its runtime. I feel like this one deserves a revisit as it was huge and then disappeared as the year went on. It is gross, but if you can get past it, there is a worthwhile film in there with a final act that makes it all worth it in the end, two times over.

3. Pearl / x (TIE)

This one is a tie, because one would not exist without the other. Ti West has returned in triumphant fashion with his films X and Pearl. This is the quickest trilogy ever to exist once Maxxxine drops this year. Not only is it the quickest, but it’s also dripping with quality. X and Pearl are both effective horror films that tell the most outlandish stories that provide metaphors on aging, inhibitions, sex and more. It is female rage incarnate with Mia Goth playing the starring role, and I am eating it up, not leaving a crumb.

2. Nope

Alright, some may argue this isn’t a horror film. It’s definitely a genre fusion, leaning more towards sci-fi and comedy, but has some standout horrifying moments that makes it jump up on this list for me. The Gordy situation as well as the entire Star Lasso experience are some of the more disturbing things I’ve seen in a film in a while. NOPE is a fantastic film and while Get Out is a masterpiece and one of my favorite horror films of all time, this is my favorite of Jordan Peele’s releases so far. I wrote an entire article on what the Gordy scene is even about, I loved it so much.

1. Barbarian

You had to see this coming. Barbarian is inventive and will go down as a legendary horror film. It’s hard to believe that this is Zach Cregger’s first horror film. He completely knocked it out of the park. This film has its immaculate twists and turns, making it a fun, disturbing and memorable watch. I simply laughed in disbelief the entire time due to how great this movie is. If you haven’t seen it, go watch it as soon as possible and go in completely blind. It’s truly a trip and an experience you won’t forget. I don’t even want to write about it because I don’t want to give it away, but it is possibly in my top ten of the decade.

What’s NExt

Thank you for hearing me out on these top ten films. What are your thoughts on these films? Let me know in the comments and I am happy to discuss. As for what’s next, TVOC is posting daily content on TikTok, Instagram and YouTube. There will be buttons below to check out that and you can see my lovely face discussing various topics on the regular. Be sure to follow those if you’re into fun facts, history, and the occasional fan edit dedicated to the art that is horror. There usually isn’t many top ten lists, but there is top fives. New blog posts will be posted Monday, Wednesday and Friday as regularly as possible.

Sissy: The Gen-Z Slasher You’ve Never Heard About

on January 11, 2023January 10, 2023 By thevoidofcelluloid

I’ll admit it. I’m lame and don’t venture out of the critical buzz bubble as much as I should. I do have a direct link to someone who does, however, and that is my lovely mother. So, when she summoned me to her house for a movie night and said that she found a horror comedy that ‘makes fun of Gen-Z,’ I was skeptical. As someone who resides in Gen-Z, there is good satire out there. Hello, Bodies, Bodies, Bodies. However, it usually leans towards cringy, out of touch humor ergo the ‘Gen-Z Hospital’ sketch from SNL.

Sissy Shows Us The Dark Side of Sisterhood | SXSW 2022

However, I put my expectations into a mental box, threw away the key and went in blindly. I ended up enthralled, laughing and wincing at the scathing burns. Someone watched my childhood and kept track of what happened to all of us between the ages of 20 and 25 when the internet flourished and put it into a slasher movie. This isn’t a cringy cyberbully-cautionary tale that I thought it was.

Social Media Addiction: THe Dopamine Response

“Well, your fucking phones are poisoning your minds, okay? So, when you develop a dissociative mental disorder in your late twenties, don’t come crawling back to me.”
– Bo Burnham, “30”

Heard that, Bo. A lot of us grew up with our eyes glued to a screen of some sort. Tumblr and YouTube were my vice as I spent my days reading creepypasta, fanfiction and hyper-fixated on YouTubers. It would always feel good to write something and receive several notifications back that your words and content were recognized in some way. It still feels good, obviously. However, there’s the dependence and the defining nature that social media has contributed to most of our lives growing up in this era.

Sissy talks about filling the social void with social media rather than actual interaction and how the dopamine we get from social media is as addicting as any other drug. Therefore, it takes mental tolls that we might not even notice until it’s too late. The most obvious toll is the way we socialize with actual people. Sissy follows Cecelia, a wellness influencer that runs into her childhood friend and gets tied up in past childhood traumas.

A spoiler Free Review: Sissy

This review will not go into distinct detail about this movie, because everyone should go and immediately watch it. It twists, and it twists hard. Sissy is a brilliant modern horror that finally feels like it’s in the modern era rather than leaning into the stereotype of the younger generation. It is a film about childhood trauma and dealing with it in adulthood. Childhood trauma is way more severe than people make it out to be, there is a reason therapists inquire about it first and can track down our problems due to it.

Sissy follows Cecilia, who already doesn’t seem to practice what she preaches, as she is faced with everything that went wrong with her childhood all at once. The film overall acts as an effective yet extremely humorous commentary about influencers and how we should humanize them and also take them with a grain of salt. It also really plays into the female rage trend that we’ve seen in the past few years, which is always a plus for me personally.

Violent, brutal and brutally honest, it’s a horror-comedy that everyone has slept on last year and should move quickly to the top of your horror viewing list. Especially if you want a good laugh, it is very funny both in traditional comedy and an absurdist way. The main point to mention is Aisha Dee’s performance and how she should be everywhere. She is so convincing and sympathetic as Cecilia and has already solidified her status as an impressive horror actor with her Channel Zero performance. You can watch Sissy now on Shudder, which is a mandatory subscription as a horror fan.

Rating of Sissy

What’s Next

Coming up next on The Void of Celluloid, I’m going to take you through my top ten horror picks of 2022 now that the year feels fully behind us. There was a lot of consulting for these picks as this year presented quite a few titles and a lot of genre blending. TVOC just recently did a series on starter horror, which you can check out here. I am also posting daily content on the TVOC TikTok/Instagram/YouTube, so be sure to follow those and check out what’s going on over there.