Why are we Afraid to Label Films as Horror?

It's been a week since this years Academy Award nominations were released and it's safe to say that they were full of surprises. Not only did Guillermo Del Toro's Cold War creature feature The Shape of Water garner a whopping 13 nominations in total, but Jordan Peele's Get Out also gained four nominations as well, including best film and best director. Four nominations may not seem like much, but for a horror film like Get Out to even be nominated for anything at the Academy Awards is groundbreaking in itself. It was a triumphant moment for horror fans everywhere, but of course, it wasn't long before people began voicing their opinions on the matter online. Of course there were the usual 'didn't think it was scary' comments, mainly from middle-aged white males with American flags in their profile pictures, but even more bizarre was the fact that there were people actually dismissing its status as a horror film! Some people instead preferred to label it as a thriller or social satire, as if the term 'horror film' is some sort of dirty word. So why are people so afraid to label a film as a horror once it's gained some critical acclaim?

The Get Out situation is not the first time this has happened, and it certainly won't be the last. Look at The Exorcist for example, one of the most important horror films ever made, often cited as being one of the scariest films of all time, yet there are some people who refuse to label it a horror film. Even director William Friedkin was hesitant to call it horror, claiming that he set out to make a film about 'the mystery of faith' instead, although he has now come to accept its horror status. It's true that The Exorcist is a film about faith and the struggle with maintaining belief, but why should that mean that it's not a horror film as well? The truth is that there is still this stigma around the term 'horror' when it comes to cinema, with many being firmly in the mindset that horror films are of lower quality than their contemporaries in other genres. With The Exorcist gaining 10 Oscar nominations and winning 2, there's no way that such a prestigious film could be a mere horror movie, right? Well, unfortunately, this is the actual mindset that some people have, which is, if you'll excuse me, a load of bollocks. Films like Jaws and The Silence of the Lambs went through similar ordeals, with the latter winning the 'big five' Academy Awards, there was no way that a horror film could do that, right? People instead prefer to label such films as 'thrillers' because it doesn't carry the same stigma that the term 'horror' does. Let's be real here lads, if a films about killer sharks or cannibalistic psychiatrists aren't horror films, then what exactly is?

So where does this stigma come from? It's no secret that horror films have pushed boundaries and broken taboos, perhaps moreso than any other genre, which often gains them a considerable amount of controversy. The portrayal of themes such as violence and sexuality in horror cinema gave many a bad impression of the genre during the mid-to-late 20th century, which is most likely where this stigma arose from. It is because of this stigma that many people still don't take horror films seriously today, which is bizarre considering how much the genre has influenced todays cinematic landscape. Look at Universal Studios for example, one of the most powerful American film studios right now. Back in 1930 however, the company was losing money fast and needed a breath of fresh air to keep it going, that's where Carl Laemmle Jr. came in. After inheriting the company from his father, Laemmle Jr. saw the potential held by horror films after Dracula became the studios most successful release in 1931. The studio then began to produce a wide number of horror films in the years that followed including The Wolf Man and Bride of Frankenstein. If it wasn't for horror films, the company could have very well went bankrupt, but because of them it now stands as one of Americas most successful film studios. As well as giving Universal a fresh start, horror cinema has also kickstarted the career of a number of prolific directors as well. Before he made Avatar, James Cameron made Piranha II. Before he made The Lord of the Rings trilogy, Peter Jackson was one of the icons of splatter cinema, with films such as Braindead and Bad Taste under his belt. You simply cannot deny horror's influence on the current cinematic climate.

As well as this stigma surrounding the horror genre, there is also the age old argument that 'this film did not scare me, therefore it is not a horror film'. Look, fear is subjective, something that scares one person will not always scare another, and therefore some horror films will effect different people in different ways. I know the Sinister films don't phase me at all, but there are plenty of people out there who find them terrifying, and I think it's important to be able to recognise that what may not scare you could very well horrify someone else. To me, a film doesn't have to scare me to be a horror film, I mean I've seen so many at this stage of the game that most of them don't. Horror isn't just about being scared, it's about exploring the morbid and the macabre, the fantastic and the downright bizarre. It's a genre where the fears and tensions of the real world can manifest themselves in strange, and often supernatural ways that translate to us on a number of levels. Most importantly I think it's a highly subversive genre, much like sci-fi, and is a lot more satirical than people tend to realise. From Dawn of the Dead poking fun at consumerism, to Shivers exploring class and sexuality, even Frankenhooker had something to say about the legality of sex work, be they intentional or not, I guarantee the vast majority of horror films hold some sort of satirical undertones. This is why I was so surprised when people dismissed Get Out as a horror film because they saw it more as a social satire, when horror and satire have gone hand in hand for decades!

I've always seen horror cinema as an art form all of its own. Being able to craft an effective scare is no easy feat and a number of complimentary factors are required to do so. Which is why it bothers me so much when people are still so afraid to label successful horror films as just that. Being part of the horror genre does not make a film inferior in any way, shape or form. It is a genre that has been around almost as long as cinema itself, and its legacy reaches across many other genres over many generations. Horror films require just as much skill and dedication as any other film, regardless of budget, so stigmatising the genre as inferior is insulting not just to the fans, but to the cast and crew behind such great films. 'Horror' shouldn't be a dirty word in cinema, it deserves just as much respect and recognition as any other genre. I think Guillermo Del Toro put it best during his Golden Globes acceptance speech for The Shape of Water, when he said that 'somewhere, Lon Chaney is smiling upon all of us'. This is the attitude that film fans and filmmakers alike should adopt when a horror film garners such remarkable critical success. Instead of simply labeling it as something other than horror, we should be thankful for the fact that the genre is finally getting the respect and recognition it deserves.

Revisiting 'Halloween' 40 Years On

Last week John Carpenter turned 70 years old, and Rotten Tomatoes accidentally pronounced him dead in a now iconic tweet that has since been deleted. Thankfully, Mr. Carpenter is still very much alive and well, despite what the popular review aggregation website had claimed. 2018 not only marks the 70th birthday of one of horror cinema's greatest living legends, but it also marks an important anniversary for one of his most iconic films. That's right, Halloween turns 40 this year. Shot over 20 days on a budget of $300,000, which was considered pretty low at the time, Halloween was nothing more than a low-budget indie horror upon its conception, and nobody could have predicted how profoundly it would influence the horror landscape in the years that followed.

As most of you know, Halloween is a 1978 slasher film that follows the murderous Michael Myers (Nick Castle) as he escapes from a mental institution and returns to his hometown of Haddonfield on Halloween. Myers proceeds to stalk teenager Laurie Strode (Jamie Lee Curtis) and her friends over the course of October 31st, while his psychologist Dr. Samuel Loomis (Donald Pleasence) attempts to put a stop to his murderous deeds once and for all. Dark, suspenseful, and filled with dread, Halloween became one of the most groundbreaking horror films of the 1970's, launching the acting career of Jamie Lee Curtis, and cementing it's director John Carpenter as a true master of horror. 40 years later, it is still a phenomenal horror film that has left behind a legacy of terror in the decades that followed it.

Now Halloween was not the first ever slasher film, it was preceded by a number of similar films such as Psycho (1960), Black Christmas (1974), and The Texas Chain Saw Massacre (1974), as well as the numerous Italian gialli that dominated horror cinema in Europe at the same time. In that case I suppose Halloween could be considered The Beatles of slasher cinema, in the sense that they weren't the first to do what they did, but they were certainly one of the most influential bands of their time. After Halloween's release in 1978, an influx in slasher films came about, with the likes of Friday the 13th and Prom Night following soon after. The next decade would be dominated by slasher films, all thanks to Halloween. A lot of subsequent slashers would attempt to put their own spin on the genre, building upon Carpenter's original idea with concepts of their own, Wes Craven's A Nightmare on Elm Street is a fine example as it introduced supernatural elements to the slasher formula. On the other hand, some slashers would simply follow the formula of Halloween almost step by step in order to cash in on its success, such as The Slumber Party Massacre, or even some of the Friday the 13th films, sorry Jason. Halloween certainly changed the game for the next decade or so when it hit cinemas in 1978, slashers were in fashion thanks to Carpenter and co.

While it spawned a large number of imitators throughout the 1980's, Halloween also spawned its own franchise as well. While Carpenter and the late Debra Hill only wrote the first two films, as well as producing the third, their original film spawned seven sequels overall, as well as a 2007 remake with its own subsequent sequel, and an upcoming follow-up to the original. Michael Myers, or 'The Shape' became an icon of horror cinema, returning again and again to wreak havoc on unsuspecting teenagers. However, the franchise could have been totally different. Initially, Carpenter and Hill envisioned Halloween as an anthology franchise, with each subsequent film following a completely new story, with the theme of Halloween linking them all together. However, after the huge success of the original film, production was already underway on a direct follow up, forcing Carpenter and Hill to save their anthology idea for the third installment, Season of the Witch. Now in my opinion, Season of the Witch is a really effective horror film in its own right, and the idea of a Halloween anthology franchise is extremely appealing, however it was just not meant to be. When people saw the Halloween title they were expecting Michael Myers, but in the third installment he is nowhere to be seen (unless you count a brief cameo on a television displaying the original trailer for Halloween). Fans and critics alike were displeased, forcing the producers to bring Myers back again and again in the films that would follow. While each film is a further step down the ladder from the last (except maybe with the exception of Halloween H20) the Halloween franchise is nonetheless an iconic one, and launched the careers of the likes of Danielle Harris, Paul Rudd, and of course, Jamie Lee Curtis.

It's clear that Halloween's influence is undisputed, but what about the actual film itself? How does it hold up 40 years on? Well, two years ago I was lucky enough to see it in cinemas on Halloween night and am thankful to report that it was still an incredibly intense and terrifying experience as I am sure it would have been way back in 1978. Halloween highlighted Carpenters talent for crafting slow-burning sequences of dread, set to his chilling, synthy score. One such scene involves Myers stalking Laurie's friend Annie Brackett (Nancy Kyes) while she babysits young Lindsey Wallace (Kyle Richards). The pacing is dead slow as we follow both Michael and Annie simultaneously, with the latter being unaware of the former's presence. We know he's there, but she doesn't. Carpenter isolates Annie a number of times, most notably when she goes out to the laundry shed in the back garden, but he knew not to spring Michael out too early, the timing had to be absolutely perfect. For a moment it seems as though Annie is safe as she drops Lindsey off with Laurie and sets off for a hot date with her man, Paul. That's when Carpenter takes action, straight after giving his character that false sense of security, he springs his trap and shocks the entire audience. No matter how many times I've watched Halloween, this scene always stands out as one of the most effective.

Of course, Carpenter's direction would be nothing without his score, and his theme song for Halloween has become something of a hallmark of horror cinema. However, it's how Carpenter manages to time his pieces to the action that really makes it effective. Towards the end of the film Laurie takes a breather after a struggle with Michael, believing that she had killed him for good. However, unbeknownst to her, Michael slowly gets back on his feet, and Carpenter's eerie score kicks off once again. She is unaware of what's happening behind her, but the audience is, and as Michael advances on Laurie we can't help but cry out just as Jamie Kennedy did in Scream. To be fair, it would be tense enough without any music at all, but Carpenter's score adds an extra layer of nuance to the scene, raising the tension to eleven. In terms of fear factor, Halloween still holds up reasonably well in the modern horror climate. Carpenter uses his skills of the craft to masterfully build this suspenseful atmosphere, culminating in highly effective, well-timed scares, that still work upon every watch.

After all these years, the influence of Halloween is still evident in the horror genre. Back in 2015 we were treated to David Robert Mitchell's hair-raising horror film It Follows, that owed a lot to Halloween. The use of wide-angle lenses and that synth-heavy score from Disasterpiece were direct homages to Carpenter's filmmaking style, particularly in Halloween. Similarly, director Jordan Peele cited the opening scene of his debut Get Out as a tribute to the film as well. The seemingly average suburban setting being interrupted by horrific violence was something that Halloween made popular, and Get Out and It Follows are only some examples of the films that adopted this theme. Jamie Lee Curtis' Laurie Strode became the archetypal 'final girl', the female protagonist who overcomes her male aggressor and survives the events of the film. The final girl trope lives on to this day, with some more recent examples being Erin (Sharni Vinson) from You're Next, and Mia (Jane Levy) from the Evil Dead remake. The image of the final girl painted by Strode became commonplace in horror cinema, and opened the genre to a new generation of female empowerment. As for Michael Myers, well, what more can I say about him? He remains one of the most recognisable horror film villains of all time and inspired a wave of similar antagonists such as Jason Voorhees and more recently, Victor Crowley of the Hatchet franchise.

The Halloween franchise may have went extremely downhill after the first couple of sequels, but the original still remains untainted. Later this year, Jamie Lee Curtis and Nick Castle will return 40 years on, to reprise their roles as Laurie Strode and Michael Myers respectively. Directed by David Gordon Green, and written by both him and Danny McBride, the film is set to erase most of the sequels from the canon and will instead link directly to the first film. While Carpenter will not direct the film, he will be scoring it, and has given the script his blessing which is fantastic news. It gives us fans a lot more faith in the film and raises the anticipation significantly. While little else has been revealed about the plot, I for one look forward to returning to Haddonfield once more, and who knows, maybe this film will spark a new generation of slasher films for the next decade or so, just as the original did 40 years ago.

Frankenstein on the Silver Screen

2018 marks the 200th anniversary of Mary Shelley's seminal novel Frankenstein; or the Modern Prometheus, one of the most important Gothic novels ever made. As much as I hate to admit it, I've never actually read Shelley's original novel (might make that my New Years resolution) so I'm not exactly qualified to talk about the literature and its influence. However, I feel like I should commemorate Shelley's work in some way, the only way I really could, by looking at its cinematic influence. Not only has Frankenstein spawned a plethora of adaptations on both the big screen and small, its mythology and ideas have also inspired an even wider number of films, which most of the time pay it homage. The following are my ten favourite films based on Mary Shelley's Frankenstein, ranging from straightforward adaptations, to films that put their own spin on the mythology as well. Read on, if you dare.

10. Frankenhooker (Frank Henenlotter, 1990)

From the mind behind Basket Case came a bizarre tale inspired by Mary Shelley's novel that followed medical school dropout Jeffrey Franken (James Lorinz) attempting to resurrect his deceased wife (Patty Mullen) using the body parts of prostitutes. Now from that premise alone you may think that Frankenhooker is a trashy B-movie, and you'd be right, but as we all know that is definitely not always a bad thing. The film takes a more comedic approach to Frankenstein mythos, taking ideas from the novel and setting them against the backdrop of the sleazy alleyways of New York City. It's a far cry from Shelley's novel, but it works, and it never takes itself too seriously because it knows exactly what it is. Patty Mullen is particularly hilarious as Elizabeth aka Frankenhooker, gurning her way around New York while delivering every line of dialogue with a unique sense of comedic bliss, it's a shame she never got up to any acting after this. Beneath all of its wackiness and exploding prostitutes however, Frankenhooker has some surpisingly touching moments and makes some subtle social commentary on the legalisation of prostitution. Overall, it's an extremely entertaining B-movie from Henenlotter that manages to blend horror and comedy together superbly. It's definitely a different sort of Frankenstein story to what we're used to, but that's the beauty of it.

9. Frankenstein Created Woman (Terence Fisher, 1967)

The fourth Frankenstein film from Hammer Film Productions sees Victor Frankenstein (Peter Cushing) delve into the strange world of metaphysics and the human soul. After one of his lab assistants is wrongfully executed, Frankenstein transfers his soul into the body of the recently deceased Christina (Susan Denberg), reanimating her, and sending her off on a vengeful killing spree. Once again Peter Cushing takes on the role of Baron Frankenstein, playing him as a brilliant, yet arrogant scientist who is willing to do whatever it takes for the sake of his experiments. Then of course, there is the female creature played by Susan Denberg, who uses her beauty and feminine charms to seduce and kill her subsequent victims. While Christina is under the influence of her ex-lovers soul, manipulating her into murder, it's a fitting revenge tale for them both as she too was tormented by the hoodlums who she sets out to kill. It's certainly a unique take on the Frankenstein mythos as it focuses on concepts such as the soul and its relationship to the body, as opposed to simply science. It's an interesting direction to take the story, and while it's not the best of Hammer's Frankenstein films, it's definitely one of the more unique ones. Cushing is brilliant, Denberg is deadly, and overall, Frankenstein Created Woman is a memorable, and highly distinctive gothic revenge tale.

8. Frankenweenie (Tim Burton, 2012)

While Tim Burton's career is not what it used to be, Frankenweenie acts as an underrated gem in his recent filmography. Based on his original short film of the same name, this charming stop-motion flick follows a young boy named Victor Frankenstein (Charlie Tahan) who resurrects his dog sparky after he is killed in a car accident. This is one of the ultimate love letters to classic monster movies, paying homage to Frankenstein itself, along with the likes of Godzilla and The Creature From the Black Lagoon as well. There's even a character whose appearance and voice is almost identical to that of Boris Karloff.  As expected from a Burton film, Frankenweenie is visually stunning, with the gothic sets soaked in gorgeous black-and-white, giving it the aesthetic of an old Universal creature feature. Much like Universal's Frankenstein, the film contains as much heart as it does horror as well. The central concept of a boys relationship with his dog is something that many can relate to, and the lengths that Victor goes to in order to reunite with his dear Sparky is quiet compelling. This is the perfect film to introduce younger children to the world of monster movies, particularly the Frankenstein story. If you love classic horror and you love dogs, then Frankenweenie may just be the perfect film for you.

7.  Frankenstein (J. Searle Dawley, 1910)

This 16 minute silent film is in fact the first even onscreen adaptation of Shelley's novel, while it was lost for many years, it has since been rediscovered and restored, and is available to watch on YouTube. The film tells a condensed version of the original story, with Dr. Frankenstein (Augustus Phillips) attempting to create the 'perfect human' only to actually create a terrifying monster (Charles Ogle). Ogle's monster is a lot closer to Shelley's description of him, with his sunken features and long, black hair, he truly is a terrifying piece of work. However, it is not until he finally sees his own reflection that he realises why his creator is so afraid of him, eventually he accepts that he can never be accepted and simply disappears. It set the foundations for future adaptations of the Frankenstein story, especially the idea of the monster simply seeking acceptance and companionship. While only 16 minutes in length, this original adaptation of Frankenstein is effective nonetheless, and acted as a precursor of the better-known adaptations that would come later.

6. Abbott and Costello Meet Frankenstein (Charles Barton, 1948)

Comedy duo Bud Abbott and Lou Costello come face to face with Frankenstein's creature (Glenn Strange) and a variety of other monsters in this 1948 comedy classic. The duo portray baggage clerks at a railway station who become tangled in a web of terrors when they receive crates containing the remains of both Count Dracula (Bela Lugosi) and Frankenstein's monster. To make matters worse, Larry Talbot aka The Wolfman (Lon Chaney Jr.) is not too far behind. While this is a comedy at heart, it is also perhaps the greatest monster crossover of all time, bringing Lugosi's Dracula, Chaney's Wolfman, and Glenn Strange's monster together for a monster mash of epic proportions. This was Glenn Strange's third time as the monster, portraying him a little more comically than before due to the tone of the film, nevertheless he is still a powerful force to be reckoned with and manages to outlast his fellow monsters right until the end. This was in fact his final onscreen performance as the creature, and the end of Universal's Frankenstein saga, finishing off their iconic creature once and for all. It's only fitting that he would be joined by both Dracula and the Wolf man in his final foray, as well as a cameo from the Invisible Man played by Vincent Price. A fitting farewell to Universal's monster movie era.

5. Young Frankenstein (Mel Brooks, 1974)

Bringing Gene Wilder and Mel Brooks together again after the success of Blazing Saddles, Young Frankenstein acts as both an homage to and parody of Universal's Frankenstein films. The film follows Frederick Frankenstein (Wilder), ahem, 'Fronkensteen', the grandson of the original Doctor who is ashamed of his family name. However, after inheriting his families estate in Transylvania, Frederick soon realises that he cannot escape his families legacy. Young Frankenstein is not only one of the best horror parodies ever made, it's also one of the greatest comedies of all time. Wilder and Brooks' script is hilarious on its own, but combined with incredible performances from the likes of Wilder and Peter Boyle, it becomes something much more. One of the most memorable scenes involves the two of them performing a rendition of 'Puttin' on the ritz', or as the creature might say, 'pudd'nonnariiitz!'. The real highlight however, is Marty Feldman as the Doctor's hunchbacked assistant Igor, who delivers some of the films most iconic lines (what hump?), it's arguably one of his greatest roles. Young Frankenstein is an effective comedy regardless of how familiar you are with Universal's Frankenstein films, but if you are a fan, the film is riddled with easter eggs and homages to those golden age monster movies.

4. The Curse of Frankenstein (Terence Fisher, 1957)

Horror took a hiatus of sorts in the 1950's, shifting more towards science fiction stories to fit in with the atom age, but that all changed in 1957 when Hammer released The Curse of Frankenstein. Helmed by screenwriter Jimmy Sangster and director Terence Fisher, two of Hammer's greatest minds, the film re-told the Frankenstein story for an newer audience, now in full colour and with lots of blood. Peter Cushing took on the role of Victor Frankenstein, a more arrogant and sinister figure in comparison to Colin Clive's original portrayal, while Christopher Lee played the monster. The Curse of Frankenstein is a lot more influential than people seem to think, it was the first really bloody horror film that showed wounds and some extent of gore. It also led to a string of other successful Hammer horror films including the likes of Dracula and The Mummy, soon establishing the studio as the next great horror powerhouse. It was quite controversial upon its release, with many critics denouncing it, however it is now looked upon as being one of the greatest adaptations of Shelley's novel, and one of the most influential horror films of the 1950's.

3. Flesh for Frankenstein (Paul Morrissey, 1974)

Also known as Andy Warhol's Frankenstein, this is perhaps the most bizarre entry on the list. The film follows Baron von Frankenstein (Udo Kier) as he attempts to create a perfect race of beings, beginning by making a perfect man and a perfect woman. Packed to the brim with sex, gore, and humour, Flesh for Frankenstein is absolutely bonkers. Udo Kier takes center stage as the deranged Baron and as always, his performance is one to remember. "To know death" he proclaims to his manservant Otto (Arno Juerging), "you have to fuck life.. in the gallbladder!" To call this an exploitation film would be an understatement, but it's exploitation of the highest order. It's an outrageous film that was followed up by another Paul Morrissey/Udo Kier collaboration entitled Blood for Dracula the same year, you can guess what that one's about. This is the most depraved version of Frankenstein that has ever been and tackles a number of controversial subjects including, but not limited to necrophilia. It's definitely not for everyone, but it has a certain type of bizarre charm that has made it a cult classic among horror fans. From Kier's excellent performance, to the brilliant gore effects and Morrissey's own unique directorial vision, Flesh for Frankenstein is the ultimate hybrid of gothic horror and exploitation.

2. Frankenstein (James Whale, 1931)

After the success of Dracula in 1931 Universal studios saw a lot of potential in the world of horror cinema, thus giving birth to Frankenstein that same year. This is by far the most influential Frankenstein film, taking some inspiration from the aforementioned 1910 version while using the resources of Universal studios to create a brand new gothic cinematic spectacle. The old castles, the gigantic laboratories, they would all become staples of Frankenstein films in the years to come, and James Whale's 1931 version is what started it all. As well as that, this marks Boris Karloff's first appearance as the monster, his portrayal and ghastly appearance, courtesy of Jack Pierce, would also become highly influential on future iterations of the monster. It's the big daddy of gothic horror cinema and did for that subgenre what Halloween did for slashers 47 years later. Visually stunning, with a chilling atmosphere and a complex movie monster at the center of it all, Frankenstein inspired a generation of horror cinema and brought the genre into the mainstream. However, in 1935, Karloff and co. would outdo themselves yet again.

1. Bride of Frankenstein (James Whale, 1935)

Before Godfather Part 2 and Aliens, there was Bride of Frankenstein, which still stands as one of the greatest sequels of all time. Picking up where its predecessor left off, the film continues to follow the monster and his creator, Henry Frankenstein (Colin Clive), who is pressured into resuming his experiments by his ex-mentor Dr. Pretorius (Ernest Thesiger). The film took everything that was great about the first and expanded upon it. Not only did it introduce a number of new characters such as Pretorius and the titular bride (Elsa Lanchester ), but it also added another layer of depth to the monster himself. As he continues to learn and develop, he becomes more detached from society and yearns even more for companionship, ultimately confronting his creator and demanding he build him a mate. Once again James Whale brings his masterful direction to the table to create an ominous gothic masterpiece, once again full of ghoulish imagery and wonderful performances. It's eerie, it's darkly comedic, but overall it's a quite compelling film and I feel it truly embodies what Karloff's monster was all about, the search for acceptance. Bride of Frankenstein is not only the greatest Frankenstein film of all time, but in my opinion it still stands as being one of the greatest horror films ever made. 

So those are my top 10 Frankenstein films, what's your favourite? If writing up this list has taught me anything, it's that I badly need to read Shelley's novel as soon as possible, I feel like a fake Frankenstein fanboy otherwise. Until next time folks.

Top 10 Horror Film Dance Scenes

Happy new year folks, 2017 is well and truly over and 2018 is here to stay (for another 12 months at least), so what better way to kick off the new year than another horror-themed post! I've spent the guts of the previous month sort of reviewing the best of 2017, so I feel like the best way to kick off 2018 is to look at some good old fashioned horror films. However, this isn't just any old horror film blog post, no siree, this is something a lot stranger, a post about dance scenes in horror cinema. Now dance scenes can be strange enough in any context outside musicals, but something about horror film dance scenes are particularly bizarre. In a genre that mainly focuses on the morbid and macabre, dance sequences don't usually seem to fit the bill, however, there are actually a good number of horror films that have them. While some of them are odd and truly out of place, others actually surprisingly suit their respective films. and this list will see a combination of both. I should also note that I will not be including any of the dance scenes from The Rocky Horror Picture Show as it is a musical after all so dance scenes are to be expected. Anyway, here we go:

10. Suspiria (Dario Argento, 1977)

As it is set at ballet school, it's natural that Dario Argento's Suspiria has a couple of dance sequences, otherwise what's the point of having it set there in the first place? This particular scene takes place after Suzy (Jessica Harper) has an unusual encounter in the hallway that leaves her feeling rather ill. Despite her protests, she is forced to participate in rehearsals with her fellow classmates under the strict supervision of Ms. Tanner (Alida Valli). While her classmates proceed to dance elegantly, Suzy struggles to keep up and as the scene progresses she becomes more and more disoriented. It's an effective scene, as Harper's performance and the irritating instructions from Ms. Tanner give us an idea of how dead Suzy really feels. We can almost feel her relief when she collapses to the floor.

9. A Nightmare on Elm Street 2: Freddy's Revenge (Jack Sholder, 1985)

The first sequel to Wes Craven's seminal slasher flick has been interpreted by critics as a metaphor for closeted homosexuality and coming to terms with it. It's true that the film does have some underlying themes of sexuality and repression, and the moment where this is most evident is during the dance scene. As he unpacks in his new room, Jesse (Mark Patton) begins to break into dance, gyrating his hips and twerking his drawer shut while miming to the song on the radio. Actor Mark Patton was in fact gay himself, and it's a shame that the filmmakers didn't write the character as a gay man instead of just providing subtext. However, the oddly place dance scene has been one of the many scenes in the film that critics reference when looking at said subtext, and it's nice to see Jesse let loose for once instead of holding himself back as in the rest of the film. This gave us twerking before it was mainstream.

8. Friday the 13th: A New Beginning (Danny Steinmann, 1985)

Elsewhere in 1985, the Friday the 13th franchise was also incorporating dance scenes into their franchise. This scene from the fifth installment sees goth girl Violet (Tiffany Helm) dancing the robot in her bedroom, for some reason. Unbeknownst to her however, the hockey-mask-wearing killer is watching, and about to make his next move. It's a shame that 80's kids loved to dance alone in their rooms, because if she was less distracted by doing the robot then perhaps Violet would have survived, but unfortunately she did not. She may have been killed, but at least she got to break out her sick dance moves beforehand. Oddly enough however, this isn't the only Friday the 13th film on the list, but we'll get to that.

7. Stage Fright (Michele Soavi, 1987)

Michele Soavi's slasher/giallo hybrid begins with a woman walking down a dodgy looking street before being grabbed by an unseen assailant. The surrounding civilians then proceed to investigate before the killer bursts out of the alleyway and.. breaks into dance. Yep, this was a musical number in disguise the whole time! What we were actually watching was a rehearsal for the play-within-a-film called The Nite Owl, and the opening scene was actually one of its musical numbers. It's a clever way to start a film and left me in tears of laughter when I watched it first, of course there are plenty of actual murders later on, but this was just a dance scene in disguise. As well as that, the fact that the dancing killer wears a giant owl mask just makes things all the more hilarious.

6. House of the Devil (Ti West, 2009)

This cool 70's throwback from Ti West contains the most recent horror film dance on the list, but by no means does that make it any less memorable. While looking after a house owned by the mysterious Ullman's, Samantha (Jocelin Donahue) decides to explore their extensive abode, but not just in any old fashion, oh no, she explores the house whilst dancing. Samantha sticks on her headphones and rocks around the house, checking out the kitchen, grooving up the stairs, before knocking over a vase and cutting her dancing short. It's a surprisingly upbeat scene in a film that becomes gradually chilling afterwards, at least Samantha got to break out some moves before things got grizzly.

5. From Dusk Till Dawn (Robert Rodriguez, 1996)

The most iconic scene from this Tarantino-penned vampire flick is of course the sensual dance of Santanico Pandemonium (Salma Hayek), one of the vampiric strippers at the Titty Twister bar. Set to the tune of 'After Dark' by Tito & Tarantula, Santanico Pandemonium almost hypnotizes all of the onlooking men, dominating the room and holding every single male gaze. She even gets a little bit intimate with Richie Gecko (Quentin Tarantino himself) when she ehh, sticks her foot in his mouth, I mean he did write this after all so what do you expect? Hayek truly owns the scene, and it acts as a fitting calm before the storm of gory violence that follows.

4. Troll 2 (Claudio Fragasso, 1990)

Now there are many, many oddities in Troll 2 that would make even Tommy Wiseau cringe, from the popcorn love scene (don't ask), to 'pissing on hospitality', it's a bizarre film altogether. Naturally, there is also a dance scene which, in retrospect, doesn't seem as weird compared to the rest of the film, but as far as dance scene standards go it's pretty unusual itself. Holly (Connie McFarland) takes inspiration from the 80's teens that preceded her and begins to dance alone in her room, watching herself in her mirror as she does so. After a few seconds however, she abruptly decides to stop and that's it, the film can't even get oddly placed dance scenes right. It's one of the less puzzling moments of the film, which is saying something, but it's still a memorable one nonetheless.

3. The Wicker Man (Robin Hardy, 1973)

There are actually a few dance scenes in The Wicker Man, from the maypole to Christopher Lee's peculiar cross-dressed dance, but the one that has the most importance in terms of the films plot and themes is Willow's (Britt Ekland) dance. As Sergeant Howie (Edward Woodward) settles into bed, the landlord's daughter Willow calls to him in song from the next room. She is attempting to seduce Howie and from his reactions it is clear that he is struggling not to give in. This is an important moment as Howie, a devout Christian, is attempting to resist the temptation of the seductive Willow. It ties into the films themes of faith, and the conflict between Christianity and the older 'pagan' religions. Howie manages to resist Willow in the end, but only just about by the looks of things.

2. Friday the 13th: The Final Chapter (Joseph Zito, 1984)

The definitive Friday the 13th film contains an iconic dance scene from the man himself, Crispin Glover. While many may know Glover more for his roles in the likes of Back to the Future, and Alice in Wonderland, in 1984 he was being stalked by Jason Voorhees at Crystal Lake. This scene sees Glover's character Jimmy attempt to attract the attention of a girl by breaking out some truly sick dance moves. Jerking, and jumping around in true Glover fashion, he finally manages to woo Tina (Camille More) and get his bit before being stabbed with a corkscrew by Jason. While Jimmy's death was unfortunate, he will always be remembered for his heroic dancing that managed to even seduce a woman.

1. Night of the Demons (Kevin S. Tenney, 1988)

Just beating Glover for the top spot however is a dance scene from this 80's cult classic, Night of the Demons. After being possessed at a Halloween party via her friend Suzanne (Linnea Quigley), Angela (Amelia Kinkade) begins to break into a surreal dance number by the fireplace, while the chilling sound of Peter Murphy's voice plays on the radio. She truly moves like a possessed woman, and the flashing lights make things feel all the more ominous, enough to even freak out bad boy Sal (Billy Gallo), forcing him to leave. It's strange, it's surreal, and it's weirdly unsettling, it's the perfect example of how horror films and dance numbers can truly intertwine in a way that works.

So what's your favourite horror film dance scene? There's plenty more where they came from I'm sure, so let me know if you've got any in particular. Anyway, here's to a great 2018, I'll be sure to have more subsequent posts in the months that follow so, until then!