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New Wave of Horror Movies Will Make Us Jump Out of Our Seats

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Shelley Duvall, who died last week, has only recently been recognised for her masterful performance in The Shining, 1980. Photograph: Warner Bros./Allstar

There’s nothing quite as cheering these days as the resurgence of the horror movie, even making its mark among summer blockbusters. While we have the usual line-up of soulless franchises and repetitive sequels like “Despicable Me 4,” “Deadpool 3,” “Furiosa: A Mad Max Saga,” and “Bad Boys: Ride or Die,” a flicker of hope arrives in the form of a unique, imaginative horror film titled “Longlegs.”

Released last Friday and starring Nicolas Cage as a serial killer, “Longlegs” has been lauded as “the scariest film of the decade” and described as “a film in which every frame is a nightmare.” But what sets it apart is its stark beauty, starting from the opening shot as a young girl navigates a snowy landscape. The film takes viewers through claustrophobic basements and eerie woods, with shadows lurking in every corner.

Despite its indie roots, “Longlegs” is expected to gross approximately $20 million in the U.S. on its opening weekend, an impressive feat. According to a BBC review, this could signal a future where horror films dominate summer blockbusters, while superhero movies take a back seat.

The newfound respect for the horror genre is indeed a strange turnaround. For years, horror was dismissed as cheap and formulaic, often snubbed by the industry. Shelley Duvall, for instance, only recently gained recognition for her performance in “The Shining,” after initially being nominated for worst actress at the Razzies—a decision retracted only two years ago. The film itself received no Oscar nominations.

Until recently, horror films often had to disguise themselves to gain credibility, using terms like “elevated horror,” “post-horror,” or “extreme drama.” Darren Aronofsky even described his film “Mother!,” which involves the graphic consumption of a newborn by a mob, as a “thriller” with “home invasion elements.”

However, the genre is now on a path to respectability. Since Jordan Peele’s 2017 release of “Get Out,” a stream of innovative horror films has followed, including “Hereditary,” “Us,” “Nope,” “Lamb,” “M3GAN,” “Talk to Me,” and “Beau Is Afraid.” These films have garnered accolades, and the genre no longer struggles to attract top actors.

As a horror enthusiast, this trend is heartening. I’ve struggled to find friends willing to join me for horror films, one of whom now has twins and can only attend daytime screenings. (The midday crowd at a horror film can be quite a scare in itself.) Increasing popularity and mainstream acceptance might pressure more people into appreciating this underrated genre.

The rise of horror films is a refreshing change in mainstream cinema, which is often dominated by franchises from Marvel and DC. Films targeting adults are increasingly presented in the bright colors of comic books with simple moral tales. We’re given the same characters and stories, set in repetitive universes.

Horror, on the other hand, has become more sophisticated, delving into contemporary anxieties and experimenting with form. “Huesera: The Bone Woman” explored postpartum psychosis, while “The Invisible Man” (2020) tackled domestic abuse from an empathetic perspective.

So, what’s the secret to horror’s success? How does it convey complex messages and experimental techniques to audiences who might usually reject them? The genre’s strength lies in its ability to capture our full attention—our brains on high alert, scanning for danger. This innate draw has allowed horror to thrive despite low budgets and lesser-known actors.

Horror’s ability to scare viewers creates a perfect platform for delivering intricate messages and innovative filmmaking techniques. Whether it’s complex political allegories, tricky camera work, or inventive plot points, as seen in Hugh Grant’s upcoming “Heretic,” horror gets away with it all as long as it keeps viewers on the edge of their seats.

The potential of horror is only beginning to be tapped.

Source: The Guardian