Revisiting 'The World's End'

Edgar Wright is by far one of my favourite filmmakers of the modern era. Over his (as of yet) small filmography, the director has already managed to create his own unique film making style and displays an all round love an appreciation for cinema itself. With films such as Scott Pilgrim vs The World and this years Baby Driver, the British director has managed to become recognised on an international level. However, arguably his best works are the films that make up his three coloured cornetto trilogy. The first film, Shaun of the Dead saw a group of survivors navigating through a zombie ridden suburban London. The second entry, Hot Fuzz, saw a newly arrived police sergeant investigating a series of grizzly murders in a small rural village. Finally, The World's End follows five old school friends who embark on an apocalyptic pub crawl through their old hometown. The films are all unrelated, being tied together only by recurring cast members and the inclusion of cornetto's.

I was extremely excited for the release of The World's End in 2013, being a big fan of both its predecessors and Wright's style in general. However, when I finally did watch it I didn't quite enjoy it as I thought I would. Maybe it was the greater reliance on CGI in comparison to the previous two films, or maybe it was simply because nothing could ever top Hot Fuzz, but when I first watched it I wasn't quite feeling The World's End. However, recently my girlfriend convinced me to re-watch it and I decided to give it another chance. Oh how wrong I was the first time around. After revisiting The World's End again, I absolutely loved it. Not only is it just as hilarious as it's fellow cornetto films, but it's packed full of little references and details that Wright is so masterful at slipping in. So now, I'm going to take the time to run through some of the films finest qualities and easter eggs that I somehow missed the first time round. Obvious SPOILERS ahead if you haven't seen the film.

The Most Epic Pints Ever Pulled

One of the best things about any Edgar Wright film is the editing, it's quick, snappy, and adds a subtle layer of intensity to simple transitions. In The World's End, the effect of the editing is best felt during the first scene in which the lads order a pint. Upon arriving at The First Post, the first pub along the Golden Mile pub crawl, ringleader Gary King (Simon Pegg) orders five pints for the five lads, only for Andy (Nick Frost) to cut in and inform Gary that he'd much rather a water. Gary's sheer outrage at this is truly felt as we cut to a montage of pints being poured. Wright cuts between the bottom of the pint glass quickly filling up with beer, and the tap itself, slowly zooming in on the latter between every cut. The sound of the beer gushing into the pint glass, the quick cutting, and the overall sound design make this simple action an incredibly intense one, enough to make your heart race. Then, as we get to Andy's glass of water, the tension is cut we get a simple shot of a glass of water being poured. It's a minor detail, but I felt it was a clever way for Wright bring that scene to life. He could have easily just cut from Andy ordering his water to the lads sipping on their pints, in any ordinary film the simple action of pulling a pint is a rather mundane one. However, Wright makes it an incredibly intense moment, emphasising the importance of these first pints to our protagonists, and the significance of Andy's water that is expanded upon later. They really are the most epic pints ever poured.

Premonitory Pubs

One of the films best, and most obvious details that I kick myself for not picking up on first time around, is how the names of each pub reflect the events that follow in each one. There are twelve pubs along the Golden Mile that the gang visit throughout, the first one naturally being called The First Post. The second pub which is identical to the First Post is cleverly named The Old Familiar, while the third pub, the place where Gary King is finally recognised, is called The Famous Cock. The 'Cock' part comes from the fact that the only reason Gary was recognised was because he had been barred years prior. The fourth pub aptly named The Cross Hands is where the gang work together in a fight against the blanks, and the fifth pub, The Good Companion, has a sign that displays four sad faces and a happy one while inside, Gary is the only one of his friends not acting happy. They meet their former drug dealer Reverand Green (Micheal Smiley) in The Trusted Servant, and a pair of unsavory twins in The Two Headed Dog. Things get more intense at The Mermaid where the characters are almost seduced to their deaths, and afterwards, they face off against swarms of blanks at The Bee Hive. In the final stretch, Gary King opts to continue the pub crawl alone at The Kings Head (the King on the sign even resembles Simon Pegg), before crashing through the wall at The Hole in The Wall, and finally arriving at The World's End where.. well, you can gather what happens there. It's one of the many clever details that Wright sneaks into the film and by far my favourite of them all.

Easter Eggs Galore

As I've mentioned, the film is stuffed with numerous easter eggs and little details throughout. First of all, the film contains a lot of allusions to the Medieval era, the most obvious being the characters surnames that all represent figures from Medieval society. Gary King, Andy Knightly, Oliver Chamberlain (Martin freeman), Steven Prince (Paddy Considine), and Peter Page (Eddie Marsan) all reference figures from society in the Middle Ages. This reflects the whole idea of the gangs 'quest' along the Golden Mile and is fully embraced in the films final moments where the post-apocalyptic Earth has come to resemble a Medieval landscape. 

Other references include Gary's mentioning of Alexander Dumas' The Three Musketeers, which comes into play significantly towards the end, and a scene that is visually reminiscent of an old giallo film of which Wright is a confessed fan. I'm sure that there are a lot more that I could pick up on another viewing, Wright manages to add layers upon layers of little detailed references throughout that it's so hard to keep track of them all. 

The King and his Knight

In both Shaun of the Dead and Hot Fuzz, Simon Pegg and Nick Frost play rather similar roles. Pegg is generally the more sensible and serious one, while Frost usually plays the incompetent sidekick. However, in this film the roes were somewhat switched with Pegg playing the cocky and arrogant Gary King, and Frost playing the sensible and serious Andy Knightly. It was interesting to see the duo essentially swap roles and play characters who were drastically different to their previous ones of the cornetto trilogy. It gave them a chance to further display their acting capabilities by providing new characters to play around with. 

Along with this, out of all the duos Pegg and Frost have played, Andy and Gary are by far the most tragic. While Gary King has a calm and cool exterior, it is revealed later in the film that since leaving school he has attempted suicide and become an alcoholic. The reason why he was so obsessed with reuniting his school pals and finishing the Golden Mile was because his life was practically empty without them, and seeing them again would provide him with some sort of meaning. You can't help but feel sorry for Gary King, but by the end it appears that he is one of the few who have benefited from the worlds end. Andy has had a similarly tragic life, finding himself in jail for a year after driving while intoxicated in an attempt to get an overdosed Gary to the hospital many years ago. This explains his initial resentment towards Gary and reluctance to take part in the pub crawl. Both Gary and Andy become very multi-layered characters by the end, two men fed up with the way their lives turn out. However, in a sort of bittersweet ending, we finally see them finding solace in the apocalypse with their lives improving significantly because of it.

A Soundtrack For The Ages

Like all of Wright's films, The World's End has a quality soundtrack to accompany it. Apologies to Baby Driver but I dare say that this is Wright's best soundtrack of his entire career. From The Happy Mondays' 'Step On', to Blur's 'There's No Other Way', and even The Doors' 'Alabama Song' which is extremely appropriate for the films subject matter. The soundtrack combines a number of songs from a variety of genres and eras that blend together to create the perfect playlist for the ultimate pub crawl. Tunes and Pints all round.

It's clear to me now that I had severely misjudged The World's End when it first came out four years ago. Maybe I hadn't been paying enough attention at the time, maybe I was expecting something more akin to Hot Fuzz, but it no longer matters as I have a newly found love for this film. From Wright's signature sense of humor, to the various easter eggs, to the tragic heroes of the piece, The World's End is a fine film and one of Wright's best works to date. It's a film that needs to be watched multiple times in order to truly appreciate it and pick up on every detail, and I know for a fact that I will be watching it again very soon.

Dark Futures: Top 10 Dystopian Cities in Cinema

Setting is a crucial part of any film. It is where the action takes place, where the characters generally reside, and often acts to shape and define the films overall aesthetic. The setting can often be an isolated one, creating a feeling of claustrophobia or loneliness most effectively felt in films like Alien and The Thing. On the other hand, the setting can feel vast and almost infinite, allowing for countless possibilities throughout the film itself. A perfect example of this type of setting can be found in a wide variety of sci-fi films that are defined by the sprawling dystopias in which they take place. They are often gargantuan cities with massive skylines, advanced technology, and an abundance of neon all over. Yet beneath their unique visual splendor often lies a dark underbelly driven by crime, corruption, and the overall darker side of humanity. For me, these dystopian cities are fascinating places for a film to take place as they offer a truly unique journey into the dark world of tomorrow. The following are some of my favourite dystopian cities in cinema from over the years, ranging from the bleak, to the fascinating, to the neon-soaked, each one is truly fascinating and unique.

10. New York- Escape From New York (1981)

For those who have not seen this John Carpenter classic, the basic premise is that in the future, Manhattan has been converted into a massive maximum security prison to hold Americas most deadly criminals. However, when air force one crashes in the center of the city, former bank robber Snake Plissken (Kurt Russell) is tasked with rescuing the president within 23 hours in order to gain himself a pardon. The New York that is depicted in this film is not a shiny, futuristic one, but a grim slum riddled with crime and bloodshed. The packed streets of Manhattan are practically empty, and the buildings that once housed countless New Yorkers crumble in ruin. It is a hollow shell of its former self that is ruled by the gangs of criminals imprisoned there. What I like about this depiction of New York is that it is so familiar to the New York we know yet so different at the same time. It looks like New York, but its sheer emptiness and all around coldness make it feel almost entirely otherworldly. It is nothing but a crumbling ruin of the once most glorious city. It's a contrast to many other dystopian cities that often feel packed and overstuffed, but I suppose New York feels that way as it is, so turning it into an empty and isolated ruin was the right move for Carpenter and co-writer Nick Castle.

9. London- Children of Men (2006)

This bleak sci-fi film from Alfonso Cuarón presents a world where women have all become infertile, leading modern civilisation into a chaotic downward spiral. While the vast majority of society has crumbled, London remains a haven of civilisation among the chaos and is where many people set their sights on, leading to further problems with immigration. The London in Children of Men doesn't look too far away from the current London of the present. Apart from the evident advances in technology, the futuristic architecture, and odd neon sign here and there, this is very much the London of the near future which makes it feel somewhat more grounded in comparison to some of the later installments on this list. However, its only when the characters venture outside of London that the city truly feels like a city of tomorrow. From what we see, the rest of the country is predominantly rural, while other towns such as Bexhill-on-sea have been reduced to run down slums. In hindsight, London really is the modern sanctuary of Children of Men, standing out among the rest of the world. However, despite its modern appearance and seemingly safe nature, the city of London is still plagued by numerous sociopolitical issues that render it to be somewhat less than idealistic.

8. New York- Hardware (1990)

Hardware may not be the most well-know film on the list, but the world of this 90's cult-classic will always stick in my mind. Set in a distorted, futuristic version of New York, Hardware follows a former army robot that repairs itself with scrap and wreaks havoc on a reclusive artist in her apartment. While most of the film unfortunately takes place in the confines of the apartment itself, the first act offers an interesting look at the world outside of it. This version of New York, or the slums of it at least, is essentially like a massive junkyard. People buy and sell scrap, buildings are made out of scrap, people even wear scrap, scrap is essential to the people of the city. It's almost like a scrap version of Venice, as protagonist Moses (Dylan McDermott) travels around in a water taxi early in the film (driven by the late Lemmy of Motorhead, no less). It's a unique dystopia that differs from a lot of others from similar films. Outside of scrapheap New York lies a vast orange desert as well, where scavengers search for scrap to buy and sell back at the city. It's a pity we don't get to see much of the city itself because I was really intrigued by this wonderful world of junk, the little that we do see however, leaves a lot to the imagination. 

7. Trash City- WALL-E (2008)

While we didn't get to see much of Richard Stanley's scrapheap New York in Hardware, we did get to see a similar dystopia 18 years later in Pixar's WALL-E. Probably the most lighthearted film on this list, WALL-E is set in a future where the Earths rubbish has built up so much that humans have been forced to evacuate while special cleaning robots have been left to clean up the place. This is how you'd imagine the rest of the city would have looked in Hardware, and it truly is a unique vision of the future. Not only are the roads lines with trash, but even the cities tallest skyscrapers are covered in piles and piles of rubbish. When I say the city is covered in rubbish, I literally mean covered, even the atmosphere looks like it's made of trash. In a darker film, this type of setting could be a really bleak concept, but in a lighthearted film like WALL-E there is a lot of fun had with the idea. The eponymous robot appears to enjoy his life in the trash city, collecting different doo dads and knick knacks from the infinite scrapheaps and converting the rubbish in to condensed cubes of trash. It's a more comedic depiction of a post-apocalyptic world in comparison to the other films on this list, yet it still acts as a cautionary tale, the message being to take care of the planet. Seeing how humanity eventually turned out later on in the film is enough to make you never litter again.

6. Mega City One- Dredd (2012)

Based on the 2000 AD comics, Dredd follows the titular law enforcer Judge Dredd who acts as judge, jury, and executioner to the criminals who inhabit Mega City One. Mega City One is a sprawling metropolis that stretches along a large portion of East Coast America and is riddled with massive tower blocks that house some of its 800 million residents. Much of the film takes place inside one of these tower blocks that has become overrun with crime, however, we get a fair idea of how considerably massive Mega City One really is at a number of points throughout the film. The skyline consists of these gargantuan tower blocks that make the surrounding skyscrapers seem like council houses in comparison. They are spread out from each other as opposed to being clustered together, truly emphasising the sheer size of this city. Along with the cities appearance, the law enforcement is also considerably unique given the fact that they have the authority to act as judge, jury, and executioners. They have full control over the law and are relentless when it comes to criminals, killing anybody who poses a threat to them. This makes Mega City One possibly the most violent dystopia on our list, with bloodshed guaranteed on a daily basis. We can only hope to see more of the gargantuan city when the television series Mega City One finally comes through.

5. Nameless City- Brazil (1985)

Terry Gilliams surreal sci-fi masterpiece follows a young government employee named Sam Lowry (Jonathan Pryce) who gets caught up in a bizarre conspiracy, changing his life forever. As huge as the metropolis in Brazil looks, with its massive skyscrapers and labyrinthine streets, it feels like an extremely claustrophobic place to live. The skyscrapers feel like massive walls enclosing the citizens, as if they are constantly stuck inside a giant box. Gilliam succeeds in making Sam feel like a tiny insect inside this enormous modernist metropolis, and this sense of severe claustrophobia translates excellently with the audience. The society of Gilliam's metropolis is one that relies heavily on consumerism, there are numerous advertisements and consumer goods seen throughout over which the citizens of the city obsess. Ironically, a lot of these items never seem to work very good. This obsession with consumerism and self-image is epitomised in the infamous scene where Sam's mother undergoes cosmetic surgery in which her face is stretched out in a bizarre manner. It truly is a strange world that only Terry Gilliam could dream up, yet it feels a lot closer to our own world than some of the other cities on our list. The modernist architecture, the growing obsession with consumerism, it's not far off the modern metropolis of today.

4. Neo-Tokyo- Akira (1988)

After a nuclear explosion destroys Tokyo and sparks World War III, the city was rebuilt as a massive cyberpunk metropolis known as Neo-Tokyo. By 2019, the year in which Akira is set, the cities crime rate is at an all time high as several biker gangs battle on the streets. We get a chance to explore Neo-Tokyo throughout the film, from its shady back-alleys to its towering neon-skyscrapers. The city is a true visual spectacle that is brought to life with the films beautiful animation. The attention to detail, in particular light, really makes the city feel alive and gives it its own unique aesthetic. While the city may look like a beacon of hope that rose from the ashes of old Tokyo, in its lower levels, the crime runs rampant and the law enforcement is incredibly strict. The city has an extremely violent underbelly, contrasting the visually pleasing skyline above. This is reflected in the unique youth culture that is central in the film, that being the rival biker gangs. Each gang has their own unique style, similar to the droogs in A Clockwork Orange, allowing them to set themselves apart from each other. Their prestige and prominence are reflected in the quality of their bikes, as such, lead protagonist Kaneda is a well-renowned gang member due to his iconic red bike. From its beautiful glowing skyline to the distinctive biker culture, Neo-Tokyo is a unique dystopian metropolis with many layers to it. Beneath its glowing facade lies a world of crime and violence.

3. Dark City- Dark City (1998)

Dark City gains its name from the fact that it is always night there. While none of the citizens of the city seem to notice, a man named John Murdoch (Rupert Sewell) soon begins to realise that something is wrong when he finds himself framed for a series of murders and subsequently pursued by mysterious pale men known as the strangers. The dark City is a fascinating environment, combining gothic elements with neo-noir to create a unique nocturnal metropolis. The combination of futuristic technology with the noir aesthetic make it hard to place this city in time, making it all the more intriguing a location. It's a grim world, but even more grim are its inhabitants, most notably the strangers. The strangers are mysterious bald, pale men who dress in black trenchcoats and hats, they pursue John Murdoch throughout the film. These are really creepy figures that add an extra layer of intrigue to the city itself, they are everpresent throughout yet their motives are not made clear until later on in the film. One thing that is clear is that they have a very important role in running the city from behind the scenes. It's a gloomy, moody environment full of gothic buildings that appear to shift and change while people aren't looking, almost as if the city itself is alive in a way. Of all the cities on this list, Dark City is by far the most mysterious and naturally, the darkest.

2. Los Angeles- Blade Runner (1982)

By far one of the most iconic onscreen metropolises ever, Ridley Scott's futuristic version of Los Angeles is one of the many things that makes Blade Runner so perfect. This towering metropolis is instantly recognisable, soaked in the neon glow of the numerous signs around the city and surrounded by numerous flying vehicles that swarm the skyline like insects. It's a visual marvel that feels like something truly out of this world. From the numerous giant billboards on the sides of the buildings, to the pyramid-shaped Tyrell building, this is an instantly recognisiable metropolis. Down on the ground below the skyline, the city is incredibly busy as strange and unique characters rush about their daily lives. The streets are lines with countless shops and eateries, standing out in all their neon glory, and as well follow Rick Deckard (Harrison Ford) throughout the film, we are allowed to immerse ourselves in this fantastic city. Amid all of the futuristic buildings however, we often come across the remnants of the old city as we follow Deckard on his journey. The most notable location is Sebastians apartment where Deckard encounters Roy Batty (Rutger Hauer) in the films climax. The decaying walls, the gloomy atmosphere, it's a stark contrast from the rest of the city despite sitting smack bang in the middle of it. From the iconic Tyrell building to the Japanese neon signs, Blade Runner's futuristic version of Los Angeles is a sheer wonder and it's a damn shame that the real LA hasn't caught up to it yet. I cannot wait to revisit that world in this years sequel Blade Runner 2049.

1. The Metropolis- Metropolis (1927)

The film that started it all, Fritz Lang's epic sci-fi film from 1927 is a milestone in cinematic history. This German expressionist classic is set in a dystopian metropolis in the middle of a severe class struggle. In the upper part of the metropolis, the high class intellectuals live lavish lifestyles in beautiful skyscrapers while their children enjoy the luxuries of beautiful pleasure gardens. Meanwhile in the lower part of the city, the workers slave away on dangerous machinery until their shift ends and they are replaced with another batch of workers. The class struggle between the workers and the rich city planners is central to the films plot and reflects the rising political tensions in the world at that time. From the gloomy industrial chambers below the city to the iconic Tower of Babel that stands at the center of the city, this is a well-developed and extensive environment that we get to explore in depth. Lang stated that he was inspired to make the film after looking upon the New York skyline for the first time, and the influence is clear. From the modernist architecture to the gargantuan skyline, Lang's inspiration behind the film shines through clearly. The city itself is brought to life using astounding practical effects that look way ahead of their time, Lang manages to create this incredibly convincing world before CGI was even a thing. On top of all of that, Metropolis no doubt inspired a lot of the films on this list, the most obvious being Brazil and Dark City. It's an incredible feat in filmmaking and one of the most influential films of all time.

Those are just 10 of the many unique dystopian cities in cinema. While they all bare similarities, be it architecture, sociopolitical issues, or neon, they are each entirely unique landscapes that stand out on their own. They offer insights into potentially dark futures that are often the result of humanities own faults, acting as almost cautionary tales to the viewers. While all of them are incredibly troubled places, they are equally as fascinating due to their distinctive aesthetics and cultures. So what's your favourite dystopian city in cinema? Let me know in the comments if you've got anything to add! Coming up soon, I'll be looking back at Edgar Wright's The World's End so stay tuned for that within the next week. Until next time!

'Annabelle Creation' Review

From the moment she made her big screen debut in 2013's The Conjuring, it was clear that Annabelle the possessed doll was destined for horror film stardom. Only a year later she had already gained her own spin-off/prequel film that had fans (or 'fannabelle's', you heard it here first) extremely hyped. However, Annabelle was a major let down, full of one-dimensional performances, a predictable story, and little to no scares at all. It was pure cinematic feces. Naturally when Annabelle: Creation was announced I was very skeptical, was this just going to be another poorly crafted, blatant cashgrab? Much to my surprise, Annabelle: Creation was an extremely enjoyable and thrilling horror film that manages to redeem the sins of its predecessor.

Set in the 1950's, Creation follows a group of young orphaned girls who arrive at the home of a former doll maker who now runs a home for girls. Upon arriving, a young girl named Janice (Talitha Bateman) begins to witness supernatural events around the house that she believes has something to do with the sinister doll she found in the house. Bateman gives a great performance as the young, polio-stricken Janice, who finds herself as an outsider of the group due to her unfortunate disability. Her only friend is fellow orphan Linda (Lulu Wilson), and the duo form an almost inseparable bond. One of my issues with the first Annabelle was that the protagonists were so one-dimensional and lacked any real chemistry, I'm not even bothered to find their names because they were so boring. It took away any empathy that we should have had for our protagonists. However, right from their first scene together, it is clear that Janice and Linda are not only two likeable characters, but also that their strong chemistry will act as the films emotional heart. Both actresses give really convincing performances and it makes us fear more for them when things start to turn spooky. Other notable performances include Stephanie Sigman as Sister Charlotte, the kind nun who acts as a motherly figure to the girls, and Miranda Otto who plays the mysterious Mrs. Mullins.

Unlike its predecessor, Annabelle: Creation actually has quite a few tricks up its sleeve in the scare department. Director David F. Sandberg (Lights Out) proves yet again that he has a talent for crafting a good jump scare. Using a combination of dark cinematography and almost unbearable silence, Sandberg creates this eerie air of suspense that was severely lacking in the films predecessor. Much likes James Wan who kicked off The Conjuring franchise, Sandberg also knows how to craft an effective jump scare that rarely ever feels cheap. However, one of the films strongest points is that it doesn't rely solely on jump scares, but also utilises a fair amount of imagery to really get under the viewers skin. The first scene where Janice encounters Annabelle is extremely unnerving even though nothing actually happens. However, that pale white face and those sunken eyes looming out of the darkness make the need for cheap frights redundant, Sandberg knows that Annabelle doesn't actually have to do anything to be scary. There is tons of great imagery in this film, from gloomy bedrooms cluttered with old dolls, to a particularly grizzly scene that involves a character being pinned to the wall, Annabelle: Creation has many great visuals that play in your mind, making the inevitable jump scares all the more effective.

Another one of the major flaws in the first Annabelle was that it was painfully predictable. There were certain points when I was like 'oh, maybe this character is actually bad' or 'oh, maybe this will happen', but nope, no twists or surprises whatsoever. While Creation doesn't exactly have the worlds most original plot, it does at least throw in a few unexpected moments to keep the audience members on their toes. One particular example is how exactly this film ties in with its predecessor, and while it did feel a bit like an epilogue shoehorned in at the end, it was a surprising and clever way to tie both films together. I certainly didn't see it coming. Along with fixing the mistakes that the first film made, Creation also feels like it has its own personality as well. The old isolated house set against the dusty, rural setting is not only a visually appealing location, but also a memorable one. As well as that, the old bedroom laden with creepy dolls really emphasises that Creation is a film about just that, a scary doll. While Annabelle herself remains stationary for the most part, the consistent doll and puppet imagery makes this feel like a definitive killer doll film.

The film does have some flaws however, the main one being that it still falls into the usual pitfalls that catch horror films every now and again. There is one particular scene that I vividly remember laughing at because it was so absurd (YOUR SOUUL), you'll know it when you see it because it stands out like a sore thumb. Apart from that, the film often follows some general tropes such as characters going into rooms that they're not supposed to or going into dark places alone. I suppose the excuse can be made that they are just kids after all, and kids do the darndest things, but how many times have we seen people make the same mistakes over and over again in horror films? To be honest, however, in comparison to the first Annabelle, this film is The Exorcist. 

The most important thing to take from Annabelle: Creation is that the powers that be are actually taking the criticisms of the first film on board and applying them to this one. They are learning from their mistakes and making sure that they don't happen again this time round. Creation fixes the majority of flaws found in the first film, making for an extremely fun and surprisingly chilling supernatural horror. All hope seemed lost for poor Annabelle after her first outing, but Creation thankfully manages to save her character and make her feel scary again as she did in the first Conjuring film. While it still has some fairly minor issues, Annabelle: Creation is without a doubt the most pleasant surprise of the summer for horror fans everywhere.

The Folk Horror Revival

Folk horror is a subgenre that is a bit difficult to define. Originating in the UK in the late 60's, folk horror essentially focuses on the dark side of folklore, pagan rites, and the occult, often set against the backdrop of a secluded area in the countryside. Examples of folk horror films include the controversial 1968 Vincent Price film Witchfinder General, and Robin Hardy's iconic horror The Wicker Man. Folk horror usually deals with an individual or individuals from a more modern era, clashing with ancient rites and ideologies that have survived the test of time in isolated parts of the British countryside. They tend to look at themes such as morality, religion, and the old world vs the new, often placing a great emphasis on pagan rituals or witchcraft. It is a fascinating, yet short lived subgenre of horror that peaked in the late 60's and early 70's, a time when horror really began to evolve. Folk horror may have been a short lived craze, but in recent years it appears to have made a comeback. Within the past decade the popularity of folk horror has resurfaced, with many films starting to delve into that world of mysticism and the occult yet again. With a growing list of films in this folk horror renaissance, I thought I would focus on five that I feel really embody what the subgenre represented all those years ago. Mild spoilers ahead.

Cults and Killers- Kill List (2011)

Kill List is a clever sort of horror film in the sense that it doesn't initially let you know that it is a horror film. Instead it plays out like a mystery/thriller about a pair of hitmen taking on one last job, while the horror gradually reveals itself over time. Kill List follows a typical formula of folk horror in that an outsider from the modern world- in this case Jay (Neil Maskell)- is pulled into this world of ancient rites and rituals. The film is very reminiscent of The Wicker Man in this sense, the formula, the tone, even the twig masks worn by the cultists at the end of the film are reminiscent of the eponymous Wicker Man itself. It's a slow-burning psychological horror that that focuses more on the tone and atmosphere than on the explicit scares themselves. Again, like The Wicker Man, the film has an extremely unsettling ending that involves a cult carrying out some sort of sacrifice. I'll say no more, because it really is a film that needs to be seen for yourself. Director Ben Wheatley essentially kicked off the revival of folk horror with Kill List. This tale of a man being unwittingly drawn into the world of this strange cult ticked all of the boxes on what exactly folk horror is, and its success inspired the director to delve into similar territory a few years later..

Mushrooms and Mysticism- A Field In England (2013)

As I've mentioned, folk horror films are often set in secluded, rural areas, and you can't get much more rural and secluded than a literal field in England. Set during the English civil war, this interesting period piece follows a group of deserters who, after encountering a malevolent alchemist (Michael Smiley), are forced to search for fabled treasure within the field. Alchemy and the occult are themes that are often dealt with in folk horror, and they are central themes in A Field in England. The character of O'Neill is an alchemist himself and performs strange rites throughout including the torture of central character Whitehead (Reece Shearsmith) to turn him into a mindless divining rod. It is a bizarre sequence that brings a certain level of surrealism to the film that gradually builds up as it progresses. This eventually culminates in the climax during a hypnotic mushroom trip scene where Whitehead and O'Neill engage in a psychedelic face-off, by far the films most iconic scene. Another theme dealt with here that is also quite popular in folk horror is the landscape. There is great emphasis put onto the field itself and the folklore surrounding it, a combination of O'Neill's abuse and magic mushrooms breathes life into the field and gives the impression that the landscape almost has a mind of its own. It's a different sort of horror film that places a lot of emphasis on imagery through its cinematography, the costumes, and the fact that it was shot in black and white. Its a much more experimental film than Kill List, and an intriguing one at that, prepare to have your brain well and truly fried.

Forests and Faeries- The Hallow (2015)

Taking place in Ireland this time, The Hallow is an interesting blend of folk horror and monster movies. Set in an isolated Irish woodland, the film follows a land surveyor and his family who arrives in order to survey the land in preparation for logging. Straight off the bat, the film is soaked in mood and atmosphere, and gradually builds up to the horrific events that eventually unfold. While it is essentially a monster movie at heart, the film bares many of the characteristics of folk horror such at the tone, the isolated setting, and the emphasis on the old world vs the new. The film deals with the modern world attempting to interfere with nature and how nature fights back, taking form in these grotesque woodland creatures from folklore. Ireland is a country rich in folklore which makes it the perfect setting for a folk horror film, putting a dark spin of tales of the faerie people and changelings. The design of the faerie people is very much tied in to nature and the landscape, they've got this skeletal, tree-like appearance that makes their presence in the woodland a lot more convincing. They're not happy little fairy's flying about, they're grotesque monsters almost, that blend into the landscape around them. Again, the film deals with this formula of a stranger from the modern world coming into conflict with the ancient world, but instead of cultists or alchemists, this time it is the monsters from legend out to kill the protagonist. It's a slow burning and moody creature feature from director Corin Hardy, that immerses itself in this world of nature and mythology, making for a different sort of folk horror altogether.

Seclusion and Sorcery- The Witch (2016)

One of my favourite horror films of the decade, The Witch is a dark folktale set in the early days of the British colonies in New England. Following a family who settle in an isolated clearing, the film follows how they cope when faced with the prospect of evil being present in the woods around them, specifically witchcraft. The overall style is very reminiscent of films like Witchfinder General, from the clothes, to the setting, to the language used in the film, there is excellent attention to detail used here in order to convincingly recreate the past. The Witch focuses heavily on the theme of religion, in this case the puritan family vs the black magic and witchcraft being used against them. At many occasions throughout the film we watch as the family pray and strictly discuss their faith with each other, highlighting the importance of their religion to them. Any other beliefs outside of their religion are seen as evil, which is why the prospect of witchcraft is so threatening to them. Much like The Wicker Man, the film deals with devout members of an organised religion who come under threat from a much older belief. Another common element of folk horror present here is realism. Often when the films deal with the occult it is not in a fantastic or magical way, it's more subtle and grounded, making its presence in the real world more believable. Here, witchcraft is not presented as people in pointy hats holding wands and broomsticks, but instead it involves complex rituals involving nature and death. It's a much more grounded sort of supernatural horror which is commonplace in folk horror films, this is arguably one of the most influential films in the folk horror revival.

Rites and Rituals- A Dark Song (2017)

As I have mentioned, the way in which folk horror deals with sorcery and the occult is much more grounded and realistic than in other media. The most recent film here, A Dark Song, is a prime example of this. Set in an isolated house in the countryside, the film follows a grieving mother who enlists the help of an occultist in order to perform a ritual to contact her dead son. The ritual itself is central to this psychological horror, and writer/director Liam Gavin pours so much detail into it. The ritual is not just a group of people merely chanting around a fire, but instead it is a complex and intricate series of events that take place over the course of a month. Certain aspects of the ritual include fasting, abstinence, and sheer endurance, and we see how truly intense it is as protagonist Sophia (Catherine Walker) slowly begins to lose her grip on reality. It is an extremely tense film immersed in paranoia, and the more it progresses, the more the worlds of the natural and the supernatural begin to intertwine. That slow burning atmosphere so commonplace in folk horror works wonders here, and as the audience we can almost feel Sophia's pain as she undergoes the ritual. While the film does become a lot more stranger as it progresses, essentially it retains all the characteristics of folk horror. The isolated rural setting, the tone, the interaction between the ancient and modern worlds, this is very much folk horror. On top of that, the sheer attention to detail poured into the central ritual is truly incredible and manages to bring layers upon layers of realism to the film itself.

As you can see, folk horror is definitely making a clear comeback. With the sheer abundance of jumpscare-heavy supernatural horrors in the modern horror landscape, the reemergence of folk horror truly is a blessing. It's a much more subtle brand of horror that plays on the mind as opposed to merely opting to shock. Whether it will be as short lived as its initial run all those years ago is unclear, but if one thing is certain, folk horror is definitely in again, and what a wonderful prospect that is.