a 100-day project to choose the best horror film of every year from 1920-2019, nor last year’s first ABCs of Horror project. With many heavy hitters out of the way, which movies will we choose?
There’s a kind of expectation among horror fans that the average piece of horror cinema should entertain as much as it terrifies; should titillate as much as it repulses. The most visceral nature of the genre is only fleetingly embraced in truth, because the average fan doesn’t often want to descend completely into unrestrained cruelty, sadism or social commentary.
One could perhaps tell this sort of story as a horror comedy by approaching the material in a fundamentally different manner, butis quite sober, preferring its audience to experience genuine discomfort rather than tawdry thrills. One might expect to be rooting for Sarah to gorily dispatch the Hollywood sycophants in her orbit, but instead the viewer becomes fixated on the impending doom of Sarah’s final loss of humanity—the surrender of everything that makes a person, a person.
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