The Devil in the Details

When an American research operation on Finnish soil manages to dig up the "real" Santa Claus, you’d think it be cause for celebration. The spirit of Christmas is finally alive once more and all that sort of thing, right? Well in Rare Exports, a film that proudly proclaims itself to be “from the land of the original Santa Claus,” things aren’t so simple. You see, the Santa Claus we’re dealing with here is a far cry from the jolly old fellow they use to sell Coca-Cola, far more interested in punishing the naughty than in rewarding the good. He’s a boogeyman meant to keep children in line and now that he’s been freed, there’s no telling what will happen. Our young protagonist, Pietari, is a boy who is on the cusp of young adulthood, forced by family tragedy to grow up fast yet still unwilling to let go of the familiar Christmas myths. His relationship with his father is difficult and strained, and Christmas in their empty household doesn’t seem like a great time. Things are esp

Continuing our discussion of alternative holiday classics, let’s move on to a film that is decidedly more twisted than the last one we looked at, and one which is considerably lesser-known: 2016’s Better Watch Out. Now unlike most everything we talk about here, where I’d start out with some summarizing, I feel the need to give a special introduction to this particular film, and try my very best to avoid spoilers. This is a film that really wants you to go in totally blind, armed only with assumptions based on the poster and genre expectations, and so I feel obliged to try and discuss the film without ever venturing into spoilers or even much innuendo. It’s a losing battle with films like this, which rely on shock and surprise, when the first thing that anyone who recommends the film is going to do is spoil everything with the intent of making it sound as interesting as it is. Unfortunately, by spoiling the ‘real’ premise for viewers, you may entice them, but you also unquestionably dim

Seeing as I got started so late this year with watching Christmas films and sharing them with you guys, I figure I’ve got about three more good ones left in me before the season has passed, maybe four at max. As a result, I’m trying to stick with real heavy hitters, avoiding guff like A Christmas Horror Story or even a few great films that are tangentially related to the holiday (Francis Ford Coppola’s The Conversation.) So without further ado, let’s talk about the Christmas horror film that everyone out there should have seen by now, Michael Dougherty’s follow-up to his 2007 wonderful Halloween-themed anthology film Trick 'r Treat, 2015's  Krampus. You see, Krampus isn’t just a great horror film that happens to take place over the holiday like  Black Christmas  or Better Watch Out . No, this is undeniably a Christmas film, and not even just for the obvious reasons that it features lots of Christmas music and the constant presence of familiar holiday iconography; no, this fi

Well, it’s that time of the year again and you know what that means! While I would have ideally had some Christmas horror movies prepared to last the entire month of December, things just haven’t worked out that way, and so now that half of the month is already over, I’m putting my back to the grindstone and discussing with you guys an important film in the development of horror as a genre that just might be my favorite horror film to watch over the holidays. So first off, how many of you have seen Bob Clark's  A Christmas Story? Yeah, yeah, I know: it’s old and creaky and so no one watches it anymore, I get it. But for those of you who do still enjoy films with heart and a not insignificant amount of edge, especially when it comes to the holidays, rejoice! Because Black Christmas was directed by the very same man, only much earlier. And it shows too, what with all the humanity and hilarity on display in the film alongside edgy, progressive content that still feels fresh in 2022.

The Conspiracy is a mockumentary/found-footage horror film from 2012, a direct result of the big boom of such films following on from Paranormal Activity, at about the point when the sub-genre was being driven into the dirt by awful sequels and copycats. It's fairly obscure at the moment, seemingly existing only as a Shudder streaming exclusive, having only ever seen a long out-of-print DVD release over a decade ago and various foreign Blu-ray releases in the years since. But hey: the same is true for Noroi: The Curse, and that was one of the best found-footage films I'd ever seen, before or since. Could The Conspiracy ever hope to measure up to those lofty expectations?  Well no, you idiot, but I'm not going in with those expectations. I just want grounded horror with a shallow depth of field. I want mystery, ambiguity, more of what The Blair Witch Project and The Last Broadcast offered up, and the premise for this film seemed promising as such: two documentary filmmak

Alright, so after covering 2013’s All Hallow’s Eve, it was obvious what I needed to watch next. Thing is, as disappointing and comparatively silly as Damien Leone’s first outings with Art the Clown could be at the best of times, I still found myself quite… well, terrified to pop in Terrifier, Leone’s remake/reimagining of All Hallow’s Eve’s best segment. It has a reputation as one of the grisliest slashers around, and that’s to say nothing of the effectiveness of one Art the Clown, who was pretty well iconic from his first appearance in short films that next to no one ever watched. Needless to say, I was a little sheepish about committing myself to watching something that goes out of its way to push the boundaries of cruelty, and which also dares to tap into such primal childhood fears as “Mommy, don't let that spooky clown touch me.” But, after a few internal pep talks, I gritted my teeth, opened a beer, and gave it a whirl, determined I wasn’t going to let any low-budget indi