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100 Overlooked/Underappreciated Horror Movie Gems by Max Molinaro

For the past five months I’ve been writing lists of 20 great horror films that I feel may have been overlooked. Here are those five lists assembled in to one place. Enjoy the scares.

Chances are if you are a giant horror fan you may have seen a pretty decent chunk of these, but a vast majority have likely not seen many of them. This is a list of under seen films or movies that aren’t talked about enough when discussing some of the greats…  

  • Possession – I can honestly say there is nothing else like Andrzej Żuławski’s Possession. Starring Sam Neill as Mark and Isabelle Adjani as Anna, Possession is first and foremost about a dissolving marriage. Anna is done with the relationship and Mark tries to salvage it, but revelation after revelation puts more and more strain on their hopes of living happily ever after. As the film progresses it becomes increasingly surreal and disturbing. Mark is livid and lashes out against just about everyone after Anna leaves him, clearly losing his grip. As bad as Mark is becoming, it is nowhere close to the horrors that Anna is facing. Blood drips her mouth and she frequently disappears into a mysterious apartment building. What she is doing in this apartment is something no one can predict and it is deeply troubling. Neill is amazing, but Adjani is the stand out performance in the film. It is an exceptionally physical performance and you can tell that Adjani is giving it her all. One scene where she has some kind of attack that causes her to flail around the ground is extraordinary and the ending of the sequence is truly disgusting. Possession is really an incredible film with many interpretations and some of the most unforgettable images ever put to on screen.

  • The Devils – There is nothing else like Ken Russell’s 1971 highly controversial film, The Devils. Starring Oliver Reed as Father Urbain Grandier, a lecherous, but respected 17th Century priest, who has great power in a small-fortified French town. He marries a young nun after they fall in love, but that drives a hunchback nun (who as loved Grandier and pictured having sex with him as he appears as Jesus Christ coming down from the cross in the film’s most infamous scene) off the deep end and accusing the priest of witchcraft and consorting with the devil. The Devils is insane and feels like a demented acid trip. Filled with amazing performances and unforgettable scenes, The Devils is one of the most interesting (certain people would say offensive) and greatest horror dramas ever made.

  • Martyrs – This is a rough one that’s may even be too much for some horror movie veterans, let alone folks new to the genre. Martyrs is a French directed by Pascal Laugier and stars Morjana Alaoui and Mylène Jampanoï. The film follows the two female leads as one seeks revenge for being kidnapped and tortured in her youth. She’s been psychologically damaged and has become ruthless in her pursuits. She is also racked with guilt about something she witness during her initial escape many years agao, which leads to some of the film’s most frightening sequences. It’s a brutal and in many way nihilistic as it is part of the New French Extremity movement, where you’ll find a smorgasbord of hyper violent cinema. If you can get past the darkness and the violence, you’ll see that there is more to the film than meets the eye and there are many ways to interpret its message.

  • Ginger Snaps - John Fawcett’s Canadian teen horror film follows Brigitte (Emily Perkins) and Ginger Fitzgerald (Katharine Isabelle), two sisters with a morbid fascination with death. One night they are attacked by what was originally thought to be a rabid dog and Ginger is bit. She soon begins acting strange (and I mean strange for the Fitzgerald sisters, because they already had a reputation) and slowly begins to change physically. It is clear that she is becoming a werewolf and she begins to turn on her sister, the only person she has ever cared for. Ginger Snaps is one of my personal favorite werewolf movies, second only to the classic John Landis film An American Werewolf in London. This tragic tale is sometimes darkly funny, but is ultimately a story about girls entering womanhood. It’s an intelligent take on puberty through the guise of a werewolf movie.

  • From Beyond – “Humans are such easy prey”. From the director of Re-Animator, Stuart Gordon, and many other people involved in that film, comes From Beyond, the best film to date to be directly based on a story by H.P. Lovecraft. The film stars Jeffrey Combs (the Re-Animator himself), Barbara Crampton, Ken Foree and Ted Sorel and is a gory body-horror film unlike anything you’ve seen before. When two scientists create a device that let’s them see through reality to a metaphysical world, they mistakenly open a door that risks unleashing horrible beasts on the rest of the world. Their experiment turns into a disgusting nightmare that would make Lovecraft himself proud as the film reminds you “The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far” (Lovecraft, The Call of Cthulhu).

  • Eyes Without a Face – This French pseudo-slasher film, released the same year as Psycho, remains just as shocking today as it did all those decades ago. Directed by Georges Franju and starring Pierre Brasseur and Alida Valli, the film follows a mad doctor as he kidnaps and murders women in order to remove their faces and transplant them on to his disfigured daughter. In many ways the film is as grotesquely beautiful as it is disturbing and continues to be highly influential across the globe.

 

  • Stake Land – Director Jim Mickle’s second feature is an ultra low budget that combines vampire and zombie apocalypse stories in some incredibly unique ways. Starring Nick Damici, Connor Paolo, Danielle Harris and Kelly McGillis, Stake Land follows survivors of a vampire apocalypse as they do everything in their power just to survive. Damici plays a bit of a badass vampire slayer, which Paolo is just learning the ropes. Both scary and sad, Stake Land is a character driven indie that is a must.

  • We Are What We Are – Jim Mickle’s follow-up film to Stake Land was even better and proved that Mickle is a  director to watch. A loose and superior remake of a 2010 Mexican of the same, We Are What We Are is a film about family suffering from the lose of the mother. The father (Bill Sage), an old fashioned man, now must lay the burdens formally helf by his wife on his two daughters (Ambyr Childers and Julia Garner) and those burdens are unlike that of any normal American family. Just like Stake Land is ultra low budget horror drama is depressing, but you can’t look away as this family begins to buckle under the weight of their own traditions. Michael Parks also stars and he is always a welcomed presence.

 

  • Trick ‘r Treat - I love Trick ‘r Treat so much. I now watch it every Halloween alongside John Carpenter’s classic Halloween. It’s that good. This horror anthology directed by Michael Dougherty and starring Dylan Baker, Brian Cox and Anna Paquin is one of the most purely fun horror films to come out in the past decade. Featuring several short stories that are intertwined both in the editing and with characters has just about everything you could ask for and perfectly captures the spirit of the holiday.

 

  • The Devil Rides Out – Though some effects and storytelling elements may be a tad dated for some, this little known Hammer Horror classic directed by Terence Fisher and starring Christopher Lee, Niké Arrighi, Charles Gray, Leon Greene, and Patrick Mower gets that all good horror films need to have a certain kind of atmosphere to be effective. This is classic battle of good versus evil and has Christopher Lee in a rare role of playing a hero instead of one of his many classic villainous roles.

 

  • Splinter – Another dirt cheap monster movie, Splinter is directed by Toby Wilkins and stars Shea Whigham (on of those “you’d know him if you saw him actors”), Jill Wagner, and Paulo Costanzo. Whigham plays an escaped convict who becomes stuck in a secluded gas station with a young couple when a strange virus turns its hosts into a horrid creature. Similar to Carpenter’s The Thing is some respects, Splinter is a tightly paced, claustrophobic, and creepy monster movie and I love it.

  • Kill List – Upcoming British director, Ben Wheatley, delivered a morbid look into the darkness of a man’s soul with his 2011 horror-thriller starring Neil Maskell, Michael Smiley, and MyAnna Buring. It follows two contract killers as one of them, a family man outside of work, becomes increasingly violent and spirals out of control. Like Martyrs, Kill List is a very dark film that can be interpreted in many different ways. The third act of the film is simply terrifying.

  • Pontypool – Possibly the most original take on the zombie film in the past couple of years, this Canadian horror film directed by Bruce McDonald and starring Stephen McHattie, Lisa Houle, and Georgina Reilly is really something special. Set almost entirely in a radio station where radio announcer, Grant Mazzy, tries to understand the chaos going on outside just by listening to the incoherent reports he is receiving from his colleagues and from the horrible sounds he is hearing. Is there a riot? Is it zombies? What is causing all this violence outside and with the crew of this small radio make it through the night alive? You’ll never guess what’s going to happen next in this highly intelligent horror film.

  • Wrong Turn 2: Dead End – The original Wrong Turn was a serivable slasher film about a couple of mutant hillbillies offing beautiful middle in the middle of the woods, both with this first sequel the franchise really stepped it up a notch and then a couple of notches after that. Directed by Joe Lynch, the film follows a group of people on a reality TV game show set in the wilderness, but of course the wood are home to a family of inbred mutant cannibals. This is a movie that’s for the gorehounds out there. Right from form the get-go the film pulls no punches and features grisly deaths throughout.

 

  • Santa Sangre – This might be the one that may be just too much for some casual filmgoers. Directed by one of cinema’s all time greats, Alejandro Jodorowsky, Santa Sangre is an abstract work of very surreal art. Though there is more a clear cut narrative that some of Jodorowsky’s other work like Holy Mountain (which I absolutely LOVE, but I can see why it might by an acquired taste), Santa Sangre cans still be described as very avant-garde. Starring Axel Jodorowsky, Adan Jodorowsky, Blanca Guerra, Guy Stockwell, and Thelma Tixou, Santa Sangre is not a film with a plot that I could succinctly describe. It is a film that to have to experience because it really is art and pure as art can come. Jodorowsky is really just a brilliant madman.

 

  • The Bay – This is a found footage horror film directed by Barry Levinson. Yeah, that Barry Levinson who directed Diner, The Natural, Rain Man, and Wag the Dog. The Bay is Levinson trying something outside his comfort zone and that is reason enough for one to give it a try, but it helps that it is a really well done film. Based on the horrifying real life parasite known as Cymothoa exigua, The Bay is a story about a fictional town being almost completely wiped out in the course of a day by the wretched little tongue eaters. Disgusting and genuinely creepy, The Bay is really successful little film from a director doing something outside his wheelhouse.

 

  • The Loved Ones - Directed by Sean Byrne and starring Xavier Samuel and Robin McLeavy, The Loved One is a violent Australian film that’s not for the faint of heart. A teen is kidnapped and tortured by a crazed young woman and her father as they hold a mock prom in their isolated home. Just when you think things can’t get any worse for Brent (Samuel) they of course get far more terrible. The relationship between the murderous duo is a fascinating one as you slowly learn more and more about them as the film goes one. You’ll never want to go to a school dance again after this.

 

  • City of the Living Dead – Directed by the “godfather of gore” Lucio Fulci, this Italian film is fun, gory, atmospheric, and stylish. It kicked off Fulci’s unofficial Gates of Hell trilogy, where the other two films will probably be included in later editions of this series of articles. It’s a bit silly at times, but it’s a fun zombie film that could only be made in the time and country that it was made. Some good Lovecraft references peppered in throughout as well are nice touch.

  • F (aka The Expelled) – I suspect that this is the least know film on this list and it’s a shame because this is a damn good British horror film. Directed by Johannes Roberts and starring David Schofield, the film follows a high school teacher, who is getting dumped on from almost every direction. His day only gets worse when he gets into a conflict with his daughter that might cost him his family and is job. Those problems soon take second fiddle to something even worse as Schofield begins to be tormented by several hooded kids. Eventually the faceless hoodlums become violent and begin murdering the few people who have remained at the school several hours into the night after the school day has ended. This is a dark, tightly paced, well directed and acted, film that I high recommend you seek out. Also features a really haunting and fantastic musical score.

  • Who Can Kill a Child? – This Spanish horror film directed by Narciso Ibáñez Serrador follows and English couple (played by Lewis Fiander and Prunella Ransome) on holiday. They arrive at their destination to find all the adults missing and the islands children stalking them. The kids turn violent and the couple must do whatever they can to survive. Adding to the peril, the wife is pregnant, which just makes their quest to survive all the more desperate. This is a harrowing film and you can imagine by the title and by the end you may have an answer to the question it asks.

 

  • Frozen – Let’s this out of the way first: I’m not talking about that wonderful Disney film, I’m talking about Hatchet director’s Frozen, so we should just let it go (wink). It’s just a coincidence that this is the third single location horror film on this list after Splinter and Pontypool, but is can be a wonderful challenge is low budget horror filmmaking sometimes and it pays off in spades in Frozen. The premise is simple as it is just a film about three characters played by Emma Bell, Shawn Ashmore, and Kevin Zegers as they are stuck on a ski lift after the ski lodge shuts down for the night. They’re only option is to find a way down or freeze to death over the next week while the resort is closed. Their escape is hindered by the cold, height, and a pack of wolves waiting for some tasty human meat to come down and that is where the horror lies. It’s a film that’ll have you asking, “what would I do in this situation?” and “how quick would I start to turn on my friends?”. This is a horror movie that relies on tension and sound design as opposed to gore and jump scares and shows Adam Green’s potential after doing the fun Hatchet films.

 

  • The Burning – This is just pure 80s. Everything about this movie is just so much of the time. This is a quintessential 80s slasher film, which was just a knock-off of Friday the 13th(which in turn was riding the coattails of Halloween). Directed by Tony Maylam and featuring some gory makeup effect by famed special effects makeup artist Tom Savini, The Burning is just a blast of a film, with a memorable villain named Cropsy. Fun fact: a young Jason Alexander’s very first feature film role.

  • The House of the Devil – The film that put Ti West on the map, The House of the devil is a brilliant throwback to low-budget 80s horror. Shot to look like it was done with grainy film stock used in the early 80s, the film gets the tone and look of the time perfectly. A college student takes a baby-sitting job, but finds out the job is more than she bargained for when the house’s owners turn out to be members of a satanic cult. It’s a slow burn that racks up the tension to a big climax. The film features the great character actor Tom Noonan who excels at playing both a kindly and creepy older gentleman. The House of the Devil is the first great film from one of horror’s best young minds.

 

  • Cheap Thrills – What would you do for five bucks? Ten? A hundred? Ten thousands? Would you say something that’ll get you slapped in the face? Would you vandalize a neighbor’s house? Cut of a finger? Those are the questions that the characters played by Pat Healy (The Innkeepers) and Ethan Embry (Can’t Hardly Wait) have to answer when they meet David Koechner (Anchorman) and his wife Sara Paxton (The Innkeepers) at a bar one night. The film is darkly funny and equally twisted. Pat Healy gives a layered performance as man that’s always gotten the short end of the stick and never done anything about it, but may finally step up under some insane circumstances. Cheap Thrills by E.L. Katz is a mean little piece of fascinating thrills that leaving you asking “what would I do?”.

 

  • The Werewolf – A stranger comes into town on a dark night, lost and confused. He runs afoul with an angry drunk and the wino winds up dead. It looks like an animal attack, but no one knows what kind of animal and where the stranger went of too. It sounds fairly generic, especially with such a simple title, but this 1956 B—movie is better than you’d think. Great makeup effects plus a 50s sci-fi twist on the classic werewolf myth and better character work than most genre films of the period, the film is a cheesy fun way to spend 79 minutes.

  • Monkey Shines – From master of horror George A. Romero, Monkey Shines Alan Mann played by Jason Beghe (Chicago Fire), who is rendered quadriplegic after a tragic accident. A friend of his, a scientist, gives Alan an unusually intelligent capuchin monkey to help him out. The monkey isn’t just unusually intelligent, but hyper intelligent due to medical experimentation. The monkey, Ella, quickly becomes attached to Alan and overly protective of him. Due to the experiments, they unknowingly become linked telepathically linked and Ella acts on the angry feelings that Alan never would act on in a million years. Alan eventually becomes a prisoner in his own home and is helpless due to his condition. His inability to move is a simple, yet highly effective way to create a ton of suspense throughout the film.

  • The Dentist – From director Brian Yuzna (Society) and producer Stuart Gordon (director of Re-Animator and From Beyond) The Dentist is about exactly what you think it is. Corbin Bernsen plays a dentist who is pushed too far by his cheating wife and stressed filled job. He takes matters into his own hands and begins torturing and murdering anyone that his the misfortune of finding themselves in his chair. You know how you get especially squeamish with little things like nails being pulled or stepping on tacks? This whole movie is little things like that involving teeth and the mouth. It’s gross and it’s under the skin like any of the best Yuzna/Gordon productions.

 

  • Lake Mungo – A 2008 Australian horror mockumentary tells the story of the drowning of the 16 year old Alice Palmer and how her parents and brother deal with the events after her death. The film is highly atmospheric and a great slow burn. There are elements of a mystery as to why Alice is appearing in home videos after her death and what she was actually like in life as opposed to the face she put on for her family. More creepy and intriguing than outright scary, Lake Mungo should be a film that sticks with you for a while. It is also pretty interesting if you’re a fan of Twin Peaks and you start seeing that the entire film plays out like an homage to the classic series.

 

  • The Tunnel – An Australian found-footage film that follows a small investigative news team looking to learn the truth behind a possible government cover-up regarding a recent water shortage. They enter the sewer system under Sydney, but soon they see an emaciated looking figure lurking in the shadows. They lose their sense of direction in the labyrinth and realize that something is stalking them. The Tunnel is pretty damn terrifying. It’s claustrophobic, tightly scripted, and tense from beginning to end.

 

  • Eden Lake – One of several British horror films on this list today is 2008’s Eden Lake. The film stars Kelly Reilly as Jenny and Michael Fassbender (one of this generation’s greatest actors) and Steve, a young couple on a romantic getaway at a remote lake. Everything seems perfect until they have a run-in with some punk teenagers. Steve confronts them, but then decides that him and Jenny should just move further down the beach. The confrontation eventually escalates and turns dangerous as the teens chase down the couple with deadly intent. More brutal and disturbing than the initial setup might suggest, Eden Lake is a relentless thriller.

 

  • In the Mouth of Madness – The last good film John Carpenter made before he lost his mojo, 1994’s In the Mouth of Madness feels a little bit Stephen King-like in a few parts and a lot like H.P. Lovecraft just about everywhere else. As the title might imply, the film is about the nature of insanity and has a bit of commentary on the nature of horror storytelling. Starring Sam Neill (second time he’s been mentioned on this list) as John Trent, a fraud investigator looking for a horror novelist’s, Sutter Cane, final transcript. Cane’s recent novel has been a massive success, but there have been reports that it has been driving some readers mad. Trent travels to the town that inspired Cane, but soon begins seeing horrible visions and the line between real and nightmares quickly becomes blurred.

 

  • Psycho II – Alfred Hitchcock’s Psycho is a classic, a masterpiece, and one of the most influential horror films ever made, so a sequel may seem like a crime against the art form. Surprisingly though, Richard Franklin’s 1983 Psycho II is not the horrid mess that many sequels to classics like The Exorcist II and Jaws 3 are. After 22 years in an institution, Norman Bates is released and returns to the infamous Bates Motel. He tries to lead a normal life and shed his “Mother” persona, but bodies begin to pile up and Norman starts to feel a little mad. Of course it’s not nearly as good as the original (despite what Quentin Tarantino thinks. He actually prefers the second one), but this sequel is an entertaining twist filled psychological thriller. Anthony Perkins returns to the role of Norman and he’s just always great.

 

  • Inside – From directors Julien Maury and Alexandre Bustillo, this 2007 French film is one of the most relentless and grisly horror films ever made. Weeks after being involved in near fatal car accident and losing her husband, a young pregnant woman, Sarah, answers the door the door to a strange woman late at night. The woman begins harassing Sarah and is quickly escalates. It becomes clear that this woman only wants one thing: Sarah’s baby… Sarah is brutalized and fights to survive as anyone else who enters her home as a potential savior meets a gruesome fate at the hands of the deadly home invader. Dark, bloody, and non-stop, Inside is one of France’s best modern horror films.

 

  • Dog Soldiers – More British horror from The Descent director Neil Marshall in the form of Dog Soldiers. Essentially it is a low-budget Predator with the alien hunter swapped out for a family of werewolves. While on a training exercise, a squad of British Army soldiers is left out in the middle of the woods and is forced to duke it out with the pack of monsters. Gory, fun, and really well directed, Dog Soldiers is a blast. Many of you reading this have also seen the director’s work in the Game of Thrones episodes “Blackwater” and “The Watchers on the Wall”

 

  • Excision – Starring 90210’s AnnaLynne McCord and directed by Richard Bates, Excision is a powerful and disturbing high school horror film. The film follows Pauline (McCord), a mentally disturbed high schooler, with hopes of becoming a surgeon. There are several expertly shot dream sequences, soaked in blood and featuring confrontations with Pauline and her ideal self. Outside the dream, Pauline is extremely creepy as she emotionally scars everyone around. She very flippantly decides that she wants to lose her virginity and propositions a guy that’s tormented her in school. They meet at motel and what happens is sure to gross a majority of viewers out. After that Pauline becomes more aggressive in her acts and eventually does something that no one will forget…

 

  • The Lovely Molly – I watched the film on Netflix on a whim a while back, not knowing anything about it at all. That was a good call on my part because Lovely Molly is a super creepy ultra low-budget horror film. It’s incredibly subtle in the ways it attempts to frighten you and you’ll be uneasy for more of the film than not. Just watch, knowing that if you’re paying attention, it will pay off. Directed by Eduardo Sánchez, the mastermind behind The Blair Witch Project.

 

  • Deadgirl – Do not watch this on a date. I repeat. Do not watch this on a date. It won’t go over well. Or maybe give it shot, you may have an interesting night depending on whom you’re with. This 2008 high school horror film is gross and miserable. One day two boys, high school seniors who can only ever hope of finding a girlfriend, discover a naked woman chained up in a basement. They soon learn that this strange mute girl is not just a tortured woman, but that she is in fact a zombie. This is where the film gets really heavy and after deciding that neither of them can do it, they convince a jock to rape the so-called “Deadgirl” and it’s all down hill from there. The only way I could accurately describe the film is pure melancholy.

 

  • The Tenant – The third film in Roman Polanski’s thematic “Apartment Trilogy” following Repulsion and Rosemary’s Baby, The Tenant is a paranoia fueled psychological horror film. Polanski himself plays a quiet, average man who moves in to an apartment after the previous tenant attempted to kill herself by jumping out the window. The landlord and the other renters begin to complain and chastise our protagonist for being too disruptive, when he is actually being anything but. The horror takes place in his mind as all these different outside forces start to come down on him and he begins to break. This one can only be described as mind-bending and features an unforgettable third act.

 

  • Berberian Sound Studio – British and psychological horror seem to be the unintentional theme of this edition with Peter Strickland’s Berberian Sound Studio starring Toby Jones. Jones plays a British foley artist, Gilderoy, who comes to Italy thinking he’s going to help with sound work on a film about horses. He arrives and soon learns that the film he is to work on is a giallo film. Gilderoy is new to horror films, so he is already out of his element being in this foreign country. Much like The Tenant’s protagonist, Gilderoy is an average and quiet man, who is needlessly thought of as greedy and rude by his Italian collaborators. All he asks is that he be reimbursed for his plane tickets, like he was told he would, but everyone gives him the runaround. From there Berberian Sound Studio becomes crazier and crazier as Gilderoy slowly becomes as insane and dark as the film he is working on.

 

  • Maniac – This 2012 remake of the 1980 film of the same name directed by Franck Khalfoun and stars The Lord of the Ring’s Elijah Wood as the film’s titular psycho. Shot almost entirely from the killer’s point-of-view, Wood’s character, Frank, is a shy and awkward man with a dark secret and even darker desires. His dimly lit home is filled with female mannequins. Frank murders women, scalps them (while most are still alive), then takes the top of their heads to place on his mannequins in order to give them personalities. Maniac’s violence is brutal, uncomfortable to watch more often than not, and horrifying to say the least. Wood is perfect as the awkward, yet menacing murderer, and by the end you may just feel like a maniac yourself.

  • The Children – Similar in premise to Who Can Kill a Child (which I mentioned in last month’s edition), The Children is yet another 2008 British horror gem about two families staying at a secluded home to celebrate the New Year. Everything seems normal at first, with some typical familial drama, but the young children begin to act very strange. They soon become sadistic and violent, which leads their parents to struggle with the fact that they either have to kill their own children or be brutally murdered by them.

  • The Fly II I’ve written extensively about The Fly II for some reason, which you can check out right here. To make it brief I’ll just say that Cronenberg’s 1986 remake of The Fly is just about perfect in my mind and one of my ten favorite horror films and while the sequel isn’t as good, it’s a fun ride and much better than one might expect. 

 

  • Ginger Snaps: Unleashed – Almost as amazing as the previously mentioned original, the sequel follows Emily Perkins as Brigitte Fitzgerald, Ginger’s sister, as she deals with the physical and mental toll that the events of the first film have taken on her. Just as impactful and raw in terms of pure emotions, this is a rare horror sequel that can hold its own with the best of them.

 

  • Braindead – Peter Jackson’s third feature and final outright splatter is arguably the goriest film ever made. On top of the insane over-the-top gore gags and gross out moments, it’s a wacky comedy, a dark familial drama, and a quirky romance. It’s an unforgettable film from on film’s greatest modern filmmakers. The film is more commonly known in America as Dead Alive.

 

  • The Prowler – Similar to The Burning in that is doesn’t really break new ground in the vast landscape of 80s teen slasher movies, but the film features some top notch makeup effects from the master Tom Savini. Not much more to say other than if you’re looking for a good slasher movie, The Prowler will satisfy.

 

  • The Stepfather – It’s soooooo good. Joseph Ruben, the director of Breaking Away and The Good Son, film from1987’s The Stepfather is such a fantastic work. Lost star Terry O'Quinn play’s the new stepfather to a young woman, who unbeknownst to the rest of the world, murdered his previous family and plans to continue his murderous cycle of entering and destroying families. O'Quinn’s performance is impeccable as the titular psychopath. The film was followed by two lackluster sequels and an awful remake in 2009.

 

  • Motel Hell – A pseudo parody of the horror films of the time when it was released in 1980, Motel Hell is a real cult classic. The unusual horror-comedy was ahead of its time in many ways and includes of the most bizarre images put to screen. The film’s killers, Vincent and Ida Smith, are an odd pair of farmers who capture innocent men and women and plant them in their garden, where they are fed until they are ready to be harvested and eaten. The sound of the heads sticking out of the ground will be embedded in your mind for a long time.

 

  • Humanoids From the Deep – Executive produced by the B-movie king himself, Roger Corman, 1980’s Humanoids From the Deep is an exploitive schlockfest about sea faring monsters with an urge to mate with attractive young human females. It sounds like it could be pretty offensive and it probably is, but the film is so much fun for that reason. Directed by Barbara Peeters, one of the few notable female filmmakers in the realm of 70s and 80s exploitation horrors, the film is the best of 50s B-monster movies mixed with the trashiness of the low budget 70s grunge horror.

 

  • A Tale of Two Sisters – A 2003 South Korean horror film from director Kim Jee-woon (director of I Saw the Devil) continues to prove that some of the scariest films come out of Asia. The film centers on a pair of sisters struggling with increasingly terrifying events surrounding them and their maniacal stepmother. The film is very creepy and unpredictable (unless you saw the crappy American remake, The Uninvited, in 2009)

 

  • The Hunger – A beautiful and haunting film from 1983 directed by Tony Scott and starring the great David Bowie and the now legendary Catherine Deneuve as a married couple of vampires living in New York. Susan Sarandon plays a doctor that Bowie needs help from when he begins to rapidly age, which leads to a chain of events that reveal that Deneuve has been hiding something deadly and Sarandon becomes entangled with this secret in some unexpected ways.

 

  • Alligator – This 1980 monster film directed by Cujo director Lewis Teague is fun satire of monster movie clichés that pokes a little fun at them, but at the same time uses them to great effect. With great effects work and an entertaining performance from Robert Forster, Alligator a real treat. The film also has the balls to kill children, something not normally seen in horror films like these.

 

  • Street Trash – Not a film for everyone, Street Trash is just as trashy as the title and poster would imply. Hobos melt in toilets and a severed penis is thrown around like a football in slow motion in James Muro’s 1987 cult classic. Appropriately disgusting while poking fun at homeless behaviors and all sorts of gross oddities on top of the super cheap production, Street Trash is a film that will turn off most, but it’s a corny good time.

 

  • Shutter – This 2004 Thai horror film by Banjong Pisanthanakun and Parkpoom Wongpoomis a twisty ghost mystery and is utterly horrifying. A photographer begins seeing strange shadows in his pictures and can’t escape en entity that is out to get him due to a mistake from his past. The film plays with your emotions as it becomes unclear who is the villain in the story, but it is always scary.

 

  • Trauma – Dario Argento, the Alfred Hitchcock of Italy and the master of giallo, delivered this creepy film in 1993 with his daughter Asia Argento starring. A killer stalks the streets and is decapitating staff members of a local hospital and Asia plays a women suffering from anorexia who is caught in the middle of it all and begins losing loved ones. The decapitations are graphic and the film shows the heads living on for a few seconds after the fact, which is an insanely creepy image. The film was one of the director’s last good films before the quality began to slip in the late 90s.

 

  • The Curse of the Werewolf – Surprisingly one of the only, if not the only, major werewolf works made by Hammer Films in their heyday. Directed by Terence Fisher and starring Oliver Reed as the cursed man, the film is a dark one that throws everything you know about the rules of werewolves out the window. After a lengthy setup where Reed’s character is the product of the rape of his mother by a tortured vagrant and the boy suffers from some unusual habits growing up, he grows into a seemingly normal man. One night he undergoes his full transformation and begins to kill. Bleak and high in emotions, The Curse of the Werewolf is on of Hammer’s best.

 

  • The Ghost of Frankenstein – Universal’s third Frankenstein film from 1942 isn’t nearly as talked about as the original two classics, but Island of Lost Souls director Erle C. Kenton delivered an exceptional film with Lon Chaney Jr. as the monster, Bela Lugosi as Ygor, and Cedric Hardwicke as Dr. Ludwig Frankenstein. Set years after the Bride of Frankenstein, the film see’s Frankenstein’s son return to his father’s home and finds that he blamed for the supposed cure of the Monster. The film was the last truly great serious take on the Frankenstein story for sometime and was also used heavily has a source of parody just as much as the first two in Mel Brooks’ Young Frankenstein (which shares the same general plot).

 

  • Afflicted – A Cronenbergian found footage film about two video bloggers traveling Europe. In France, one of them goes back to their room with a beautiful woman, but he is found alone and bleeding in bed when his friend busts in. In Italy he seems very ill and his symptoms becomes more and more extreme until he shows signs of superhuman abilities. When his hunger and aversion to sunlight become too much, it becomes very apparent what he is becoming. The film is able to pull off things using the found footage motif that do not seem possible to pull off in camera and on such a tight budget. The film is dramatic, exciting, scary, and one of 2014’s best. Read my full review here.

 

  • The Den – A creepy found footage film shot mostly on the desktop of a young grad student performing a social experiment on an Omegle-like website. While chatting with the usual online crowd she comes across what looks like a very real murder. She is slowly tormented with more and more frequency by unknown forces and seems to think that someone is out to get her and her loved ones. Creepy, memorable, and inventive, The Den is worth a look and a standout in an overcrowded subgenre.

 

  • Would You Rather – We’ve all played the game would you rather and in 2012’s film inspired by the game, things are taken to the next level and beyond. Starring Pitch Perfect’s Brittany Snow as a player in a sick game and horror movie icon Jeffrey Combs as the game master, Would You Rather sees a group of unsuspecting victims who wind up in a deadly version of the game. Increasingly brutal, set almost entirely in one room, and a film that successfully makes you ask “what would I do?”, Would You Rather is a surprisingly good little film. Combs is also wonderfully hammy.

 

  • Frontier(s) – The 2007 French horror film by Xavier Gens is almost on the level as Inside when it comes to horrific violence. A group of friends feels riots in Paris only to encounter a cannibalistic family, who proceeds to torture and torment the frightened group. Essentially a more violent French take on The Texas Chainsaw Massacre with some extra twists, Frontier(s) is one of the most extreme horror films of the 2000s.

 

  • Them – The 2006 French-Romanian horror film directed by David Moreau and Xavier Palud isn’t the graphically violent French horror film that I’ve mentioned while doing this project, but it might be the most terrifying. The plot it simple as it revolves around a couple be stalked and chased by hooded kids in and around their new home. Suspenseful and unrelenting, Them is truly thrilling.

 

  • The Girl Next Door – This 2007 film was directed by Gregory Wilson and based on a novel by Jack Ketchum. Like the best Ketchum stories, the film is dark and incredible ugly. The plot is simple, but the morality of it all is complex as it tells the story of a teenage girl who is trapped and tortured by her aunt as the neighborhood kids watch and don’t know how to deal with the morbid situation.

 

  • Offspring – Another dark tale from the mind of Jack Ketchum, Offspring is a 2009 film directed by Andrew van den Houten. The film follows a married couple who have to protect themselves and their family from a small savage clan of cannibals. Since the film is Ketchum story, thing are not that simple as some of the protagonists might be just as monstrous as the cannibals.

 

  • May – A modern cult classic, the 2002 film directed by Lucky McKee follows the lonely May as she slowly loses her grip on reality in her attempts to gain more friends. May is one of the most interesting and damaged characters from any horror from the last decade and the morose film ends with one of the creepiest images ever put to screen.

 

  • The Hills Run Red – A little known film, 2009’s The Hills Run Red by Dave Parker follows a group of teens as they search for a long lost horror film, which is supposed to be one of the best and most grisly slasher films ever made. Instead of the film, they find the real life killer that the film was possibly based on. The Babyface killer in the film should be and would’ve been a modern slasher icon had the film gotten a proper release, but it’s available and should be checked out by horror fans. The film also subtly draws connections to real life quest that all die hard horror fans go one to find smaller films and obscure gems that they’re only heard of in magazines, on reddit, or in podcasts. That quest is something that exists almost exclusively for the horror genre (there might be some that search for old sci-fi, foreign films, or pre-code Hollywood movies, but horror is the big genre for searchers).

 

  • The Exorcist III – It would probably be easy to write off The Exorcist III since the original ranks high up on the list of the greatest horror movies ever made and The Exorcist II: The Heretic is one of the worst films ever made, but III ignores the first sequel and is a real horror movie gem and has a pretty sizable cult following. Starring Oscar winning actor George C. Scott as the Lieutenant William F. Kinderman character from the original film (who was played by Lee J. Cobb in the original) as he investigates a string of religious themed murders near a psychiatric hospital where a mysterious patient claims to be a long dead serial killer. The film is directed by the writer of original two novels and screenwriter of the original film, William Peter Blatty, who shows great restraint as the film continually builds and is remarkably tense throughout.

 

  • Thale - Aleksander L. Nordaas’ 2012 Norwegian supernatural horror film is a super creepy tale (pun intended) about two men who find a speechless woman with a tail. There is a mystery here to the big picture going on and to how this woman ended up trapped in this basement, making the film a very compelling one. Outside of the dark basement where most the film is set lays something very creepy out in the woods.

 

  • Severance – A horror comedy that can be described as the British version of The Office meets Friday the 13th. A company team-building retreat, a group of co-workers end up being victims of a small group of psychopathic serial killers. The film’s general plot makes it sound like something we’ve all seen a hundred times before, but Severance stands above many modern slashers due to its dry and dark British wit.

 

  • Idle Hands - A 1999-horror comedy directed by Rodman Flender and starring Devon Sawa (Final Destination), Seth Green, Elden Henson, and a young Jessica Alba. Sawa plays a high schooler finds that his right hand is possessed after it kills his parents and his two best friends and he has to stop it before it can kill anyone else, including the next door neighbor girlfriend. The film is so over-the-top 90s in a way that will make it a very fun, albeit dumb, nostalgic experience for a lot of people of a certain age.

 

  • Maniac Cop 2 – Even better than the original, 1990’s horror sequel by Maniac and original Maniac Cop director William Lustig returns to continue the story of the vengeful undead Maniac Cop Officer Matthew Cordell, who continues to reek havoc on the dirty streets of New York. Die Hard’s Robert Davi as Detective Lieutenant Sean McKinney takes over the lead from Bruce Campbell as the man with the tall order of catching the unstoppable killer, who is even more bloodthirsty than he was in the original.

 

  • Stitches – If Asian horror movies are usually destined to be really friggin’ scary and Australian horror movies turn out to border on nihilism more often than not, then modern British horror movies have two options; being dark and depressing like Eden Lake and Don’t Look Now or darkly humorous like Severance and 2012’s horror comedy Stitches by Conor McMahon. The film follows a group of teens who were a partially at fault for the death of clown at a birthday party in their youth and his return to murder them years later. The film is filled with some really inventive kills and good liners and who doesn’t love a good grouchy killer clown?

 

  • The Relic – Set in Chicago, The Relic from 1997 by Timecop director Peter Hyams is simply a super solid B-monster movie. The film a little bit Alien and Aliens, a little Predator, some Jurassic Park, and pretty much any monster movie you can think of thrown into a pot to make a fun monster bash that is ultimately a super solid guilty pleasure. Penelope Ann Miller and Tom Sizemore star in the two lead roles.

 

  • The Faculty – This underrated 1998 Robert Rodriguez film was penned by Scream and I Know What You Did Last Summer screenwriter Kevin Williamson. With this film Williamson’s self aware hip high school horror film began to ware thin, but the film has just enough charm and wit to be fun time. The film was accused of ripping of many classics like Invasion Of The Body Snatchers but is really more of a loving homage. Beyond the fact that it is a purely entertaining 90s teen horror flick, the film has fantastic cast of young stars who mostly went on to have highly successful careers and are still thriving today (Josh Hartnett is currently killing it in Penny Dreadful).

 

  • Willow Creek – Bobcat Goldthwait doing a found footage horror movie sounds strange, given that his past work includes the phenomenal World’s Greatest Dad and the wonderfully dark God Bless America, but 2014’s Willow Creek is another winner from the comedian/director. It closely follows the Blair Witch formula, but the performances and the writing are very strong in this one and the film’s climax after a very extended take is insanely creepy.

 

  • Hour of the Wolf – Ingmar Bergman. The man is without a doubt one of the most legendary icons of world cinema and in 1968 he teamed with frequent collaborators Max von Sydow and Liv Ullmann to make one of the closest representations of a nightmare that film has ever seen. Like any Bergman classic, the film is ripe with heavy drama and complex emotional tensions throughout and on top of all that, Sydow’s descent into madness is a gorgeous work of surrealist terror.

 

  • The Beyond – Easliy one of Lucio Fulci’s most popular films, The Beyond is an insane cult classic with some spetacually gory kills. The film follows a woman who inherits a hotel in New Orleans, not knowing that it is one of the gates of Hell and that everyone who enters will meet a horrible fate. Zombies, eye gouging, dog attacks, spider attacks, and a 6-shooter with apparent unlimited ammo abound in this Kind of batshit and super nonsensical film, making The Beyond is prime example of low budget Italian horror of the 70s and 80s.

 

  • Snowtown – This one is a bummer. Based on the true of one of Australia’s most infamous serial killers, the film is filled with scenes of implied pedophilia, incestual rape, and eventually (obviously) murder. The tone is bleak, the performances are pretty stellar, and the tone will leave you feeling sick to your stomach, even if much is left to your imagination. The film was released in 2011 and was directed by Justin Kurzel.

  • Frankenstein’s Army – A World War II set found footage film. For Russian soldiers in the midst of war, you might ask yourself how they got a hold of such a nice camera that records sound and shoots colored film, but after a few minutes you’ll forget about it since the creature effects are nuts. A Nazi grandson of Victor Frankenstein is creating an army of reanimated corpses fused with deadly bladed weapons, leading to some of the most memorable movie monsters of the 2010s.

  • The Town the Dreaded Sundown (1976) – Released two years prior to John Carpenter’s Halloween, 1976’s The Town That Dreaded Sundown is a early slasher film that is not talked about nearly as much as it should. Loosely based on the true story of the Phantom Killer in the town of Texarkana, Texas in 1946. The silent masked killer is very much a prototype Jason Voorhees and true crime have of the film makes it really stand out from the huge number of slasher films that would inundate theaters throughout the following decade.

  • Citadel – 2012 Irish psychological horror film written and directed by Ciaran Foy about a widowed father suffering from agoraphobia, who has defend himself and his baby from a faceless gang of hooded people. The film is another bleak one that is a good companion piece to 2010’s The Expelled. Citadel is an incredibly tense and layer thriller, with an impeccable leading performance by Aneurin Barnard. For a director’s feature film debut the film in extraordinarily mature work that deserves more attention.

 

  • The Cottage – A British horror comedy from 2008 by director Paul Andrew Williams and stars Andy Serkis, Reece Shearsmith, Jennifer Ellison, and Steve O'Donnell. Serkis and Shearsmith play a couple of brothers/criminals, whose kidnapping goes south when a crazed killer attacks them and their hostage. The film is darkly funny and makes a good companion piece to Severance.

  • The Kindred – An ultra low budget monster movie from 1987, Stephen Carpenter and Jeffrey Obrow’s The Kindred is a super entertaining effects filled romp. When a medical researcher’s mother dies, he, his girlfriend, and his team go to her home to uncover the secrets of her research, only to find that she created something truly horrific. The characters in the film are all exceptionally likeable, which is odd for a film of this kind and there really is no accounting for why they are so easy to like. You don’t want them get killed off, which goes a long way to make the film an exciting ride. The film also features Oscar winning actor Rod Steiger in a supporting role.

  • The Dark Half – Directed by George A. Romero and based on a story by Stephen King, the film is similar and far better than Secret Window. It sees Timothy Hutton as a King-esque author, who “kills off” the pseudonym he has been using for most of his very successful career. Shortly after that decision, someone that looks just like the author begins killing people involved with the man and his publishing. Hutton is great and the movie is appropriately Stephen Kingy.

  • The Awakening – A 2011 British film directed by Nick Murphy and starring Rebecca Hall and Dominic West. Set in 1921, Hall plays a paranormal investigator who doesn’t believe in the supernatural and wishes to disprove claims of ghost. It is an interesting setup and different than the usual haunted house film and the plot goes on to be a surprisingly layered and complex one.

  • Q: The Winged Serpent – Directed by Larry Cohen, the director behind such classics like Black Caesar, The Stuff, and the It’s Alive trilogy, Q from 1982 with stars Michael Moriarty and David Carradine is B-movie gem. The effects may leave much to be desired for some, but the stop motion Quetzalcoatl monster is a fun throw back. On the surface the film is a fun monster movie, but Moriarty shines as a paranoid and smarmy crook.

 

  • The Town That Dreaded Sundown (2014) – Not a remake and not a traditional sequel, this 2014 slasher film is a strange hybrid of the two and that is a major reason why Alfonso Gomez-Rejon’s The Town That Dreaded Sundown is special. Set in modern day Texarkana, where the original film is screened every Halloween, the film finds the town rocked by copycat killer or maybe even the original Phantom. The film is produced and conceived by Ryan Murphy and pretty much everyone behind the camera is a crew member of American Horror Story, so many there are many stylistic similarities there. The film is very respectful to the original and seeing 1976 cult classic will only enhance your appreciation of the new film, though it is not essential. Some might not see passed its slasher movie trappings, but it’s an old school slasher film that they don’t make anymore, so fans longing for the good old days of masked killers hacking teens will have an excellent time with this one.

 

  • Mad Love – Directed by Karl Freund (who was the DP of Dracula) in 1935, Mad Love tells the story of doctor (played by the great Peter Lorre) in love and obsessed with a woman he can’t have and his devilish plans to eliminate the man in her life. The doctor performs surgery on the woman’s lover interest after his hands are mangled. He wakes from surgery and finds that he is an expert knife thrower. There are twists, high drama, and a suspenseful climax, which all add up to Mad Love being an under appreciated classic.

 

  • Curse of Chucky – Everyone has seen all the Child’s Play movies, but 2013 saw the release of the franchise’s first straight-to-DVD feature, so it may have slipped under some people’s radar. The goal of the film was to steer the series back to it’s darker roots after the previous films digressed into board comedy (although that doesn’t mean they were bad. Bride of Chucky is arguably still the best). The film successfully reinvigorates the franchise and makes Chucky threatening again. It is still fairly funny at times, but it the darkest film since the Child’s Play 2.

 

  • The Brood – A classic film from the great David Cronenberg, The Brood is film about marriage and divorce manifesting themselves as horror. The film has big ideas about the power of the human mind and psychological trauma. Samantha Eggar and Art Hindle are the two leads and Oliver Reed co-stars as psychotherapist in one of his many great horror movie roles. Released in 1979, the film is one of Cronenberg’s first major releases after several much smaller films like Shivers and Rabid and it is one of his most outwardly scary films. Many ideas and stylistic choices of The Brood can be found in Scanners and Videodrome.

 

  • FoundScott Schirmer directed this 2012 ultra-low budget film about a young boy who is obsessed with horror films and suspects that his older brother might just be a serial killer. Humorless in its execution and unrelenting in its depiction of violence, the film was banned from a release in Australia.

  • Opera – A relatively later Dario Argento film that certainly has one of the thinnest plots and some of the most nonsensical characterization from the director, but what it lacks in story, it makes up for in uncomfortable imagery and brutal violence. The lead character is forced to watch grizzly murders while needles are taped under her eyelids to keep them open, which a surprisingly nauseating image that could only come from the mind of the Italian master of horror.

 

  • Blood and Black Lace – Directed by the legendary Mario Bava, Blood and Black Lace is the father of all giallo films that came after. Every troupe that would become common in the genre can be found in this film and fans of later Bava works, Argento films, some Lucio Fulci films, and many more will see it’s influence everywhere.

 

  • Grabbers – A 2012 Irish monster comedy from director Jon Wright is a fun film in vein of Attack the Block. The general plot revolves around a small town being attacked by a large tentacled beast and they only way to for the townsfolk to protect themselves is to have as much alcohol in their blood. Needless to say, the whole town getting drunk leads to film to be funnier than the average monster movie and the high production values of such a small film really make it stand out.

  • Wake Wood – A modern Hammer Horror film from 2011 stars Aidan Gillen, Eva Birthistle, and Timothy Spall. The premise is vaguely reminiscent of Pet Semetery as a mourning mother and father use a pagan ritual to bring their daughter back from the dead. The performances are strong and the film is moody as Hell as it harkens back to some old school European horror with modern day horrors visuals.

 

  • The Poughkeepsie Tapes – Never officially released (but it’s coming at some point), this indie mockumentary is deeply unsettling. Directed by Quarantine and As Above, So Below director John Erick Dowdle, the film tells the story of a serial killer that kidnaps and tortures his victims in the small town of Poughkeepsie. The killer often films his deadly deeds and those offer many of the film’s more disconcerting sequences. The acting is a little hammy at times, but the film is very effective and will stay with you for some time.

 

  • Never Sleep Again: The Elm Street Legacy – An epic 4-hour documentary on the entire A Nightmare on Elm Street franchise that features cast and crew interviews from a majority of the key players from the legendary films. The stories found in the doc are incredibly engrossing, highly informative, and very honest. The origins of Freddy, the films’ impact on pop culture and film, and much more is explored at length and even the lesser film’s in the series are given their due. The commentary on Elm Street 2 is particularly hilarious at times.

 

  • The Last Will and Testament of Rosalind Leigh – The 2013 feature film debut of Rodrigo Gudiño follows a young man who returns home after the death of his mother. The film is one of grief, loneliness, and regret and is tightly scripted by Gudiño. The lead of the film begins seeing something in and around the house that frightens him to his core and it is an image that is utterly creepy (albeit a little to CGI-y later, but it still manages to work).

  • Bubba Ho-Tep – An elderly Elvis and an elderly black JFK versus a cowboy hat wearing mummy should be enough to sell anyone, but when Elvis is played by Bruce Campbell and the film is directed by Phantasm creator Don Coscarelli, then it really becomes a must see. Campbell is at career best as a depressed and forgotten Elvis, who needs a walker and has a growth on his “pecker”. He gets one last chance to do something good in his life when he learns that a mummy is loose in the old folks home and is sucking souls. It’s a wacky setup, but the film is surprisingly heartwarming and Campbell really gets to show his real acting chops.

 

  • The Sacrament – A slow burn and atmospheric found footage film that is loosely inspired by the real life Jonestown Massacre. The Sacrament is directed by the wonderful Ti West and stars You’re Next stars AJ Bowen, Joe Swanberg, Amy Seimetz, with Kentucker Audley and Gene Jones as the charismatic leader of the cult who a Vice news crew is documenting. The film builds and builds to a dark and disturbing climax, much like West’s previous outings The House of the Devil and The Innkeepers. Jones is stellar as the manipulative and intelligent as you can understand why many of his followers left their previous lives to join him on this secluded island colony.

 

  • You’re Next I’m well aware that most horror fans have probably seen You’re Next, but I’m going to cheat and point it on anyway since it wasn’t huge at that box office and I love it. It’s soooooo friggin’ good. It’s funny, gory, scary, thrilling, surprisingly, subversive, and everything you want in a horror film. Just watch it if you haven’t seen it.

  • Bellatrix: When you get a virus, you get a fever. That's the human body raising its core temperature to kill the virus. Our world works the same way: If we don't reduce our population ourselves, there's only one of two ways this can go: The host kills the virus, or the virus kills the host. Either way...
  • Bellatrix: The result is the same: The virus dies.
  • Sirius: So Voldemort's gonna take care of the population problem himself.
  • Bellatrix: Well if we don't do something, nature will. Sometimes, a culling is the only way to ensure that the species survives. And history will see Voldemort as the man who saved wizard-kind from extinction.
  • Sirus: And he gets to pick and choose who gets culled, does he? All his pure mates, they get to live. And then when he thinks it's worth saving, he keeps them safe, whether they agree with him or not.
  • Bellatrix: And you, Sirius. In Orion's honor, I am inviting you to be part of a new world. It's time to make your decision.
  • [Long pause]
  • Sirius: I'd rather be with Dumbledore. Thanks.
  • Bellatrix: So be it.

Requested Anonymously

You have a better chance of running into a shiny than running into a wild pokémon with pokérus. Still, this pokémon virus has huge benefits and is sought after in the competitive and casual communities alike. In the game, an infected pokémon will gain double the stats every time it levels up. But what does this mean in a more physical sense?

To start, let’s talk about viruses. We know Pokérus is a virus, which to be honest doesn’t tell us a whole lot. Viruses are as diverse and as crazy as anything, infecting you with everything from colds and flus to rabies and ebola. Their appearances vary as much as their symptoms, and many of them look very alien.

So what exactly is a virus? Cells in your body, along with bacteria, are stand-alone living entities able to eat, grow, and reproduce. Viruses are something different altogether. Viruses are little envelopes full of genetics: a protective protein coating surrounding single or double strands of DNA or RNA.  By themselves, viruses are not able to function. This is why they need to infect a host cell: to live and reproduce.

They do this through the lytic cycle. Basically, a virus will invade a host cell, and take over the cell’s machinery. The virus will trick the cell into working for them: they turn the host cell into little virus-factories, building more and more viruses with the cell’s machinery which then can go and infect new cells.

This is why viruses are contagious. If someone sneezes on you, or you breathe in a virus, it can start entering your cells and start reproducing right away. This is how pokérus is spread. However, it should be noted that a lot of viruses are species-specific; humans cannot be infected with pokérus.

However, pokérus is unique due to its positive effects. Viruses are generally not something you want. For example, a runny nose: cold viruses will infect and kill cells in your nose, and with less cells lining your sinuses, fluid flows freely. Fevers are your bodies response, trying to kill the virus by literally turning up the heat.

So somehow, instead of destroying and taking over host cells, Pokérus viruses benefit them. Pokérus doesn’t infect and kill a pokémon’s cells; it strengthens them. Exactly how is widely up to interpretation. What does a stat boost in-game equate to in real life? 

Maybe the pokémon is buffed up as if on steroids. This would mean that pokérus increases protein production and ATP levels. Or maybe, Pokérus just helps a pokémon grow strong, by enabling them to more easily break down and use vitamins like calicium. It all has to do with whatever the virus’ DNA/RNA strand tells the cell to do. Most viruses just tell the cell to build more viruses, but the pokérus DNA must be like a motivational speech for a cell. And then it replicates and spreads, of course.

Pokérus is a virus, which will take over a pokémon’s cell and cause beneficial side affects, as it reproduces and spreads through a pokémon’s body and eventually into other pokémon.

ill save you right back

requested by @stawmay12

so. this ended up a lot longer than i had intended. i had feelings. so its long af. like 2k+ words.  

and yes. the title is a total skam reference. come at me. 

au in which 10k saves the reader


There aren’t supposed to be miracles in the new world. There aren’t supposed to be gallant acts of heroism and the saving of lives that were meant to be lost. There aren’t supposed to be happy stories, there definitely aren’t supposed to be happy beginnings, or happy middles, or happy endings.

And yet, somehow, you found one. Maybe the last miracle in existence.

That miracle’s name was 10k.

THEN

You stare at the wooden plank stretched across the roofs, the thin splinters everywhere, the way it’s so light it shifts with every gust of wind.

It’s your only way out. The door to the roof, holding back a throng of Z’s, will break. The door is already splintering. One strong blast of wind and the wood will topple into the crowd of Z’s waiting below.

There are no more choices. There is no more time.

Taking a breath, you step onto the ledge, and then onto the wooden plank.

It creaks, and you keep your eyes straight, refusing to look down into the Z’s that you know are stretching their hands to the sky, hoping to pull you into their waiting mouths.

You take another step. Then another. Then another.

You’re sure you’re going to make it across when it snaps. There isn’t even time to react. One minute you’re up high, the next you’re falling into grimy hands.

You kick out, thrashing, keeping your limbs away from their mouths, looking around desperately for somewhere to hide, some way to survive.

You see the dumpster, only a foot away, and grab onto it with slippery fingers, dragging yourself beneath it.

You feel teeth close around your pants, but it doesn’t break through the skin; you pull your leg beneath the dumpster before the virus and it’s host find purchase.

And there you wait. For the Z’s to forget about you, for them to topple the dumpster, for you to die. Waiting, waiting, waiting.

Keep reading

I LIKE KAMEN RIDER EX-AID!

I needed to start this with that large, exclamatory sentence for two reasons. 1) it is true.  I really do like Kamen Rider Ex-Aid, I think that the writing is, for the most part, truly good and the characters well developed and interesting. 2) I am about to talk about part of the show I have problems with and I don’t want anyone saying I’m a “hater” or “have it in for the series”.

Yes, when I first saw the designs for the show, I was vocally unimpressed and through the entire concept of a Kamen Rider revolving around Video Games was silly and aimed at a very, very young market. Then, I gave the show my standard 3-5 episodes to impress me.  It’s something I do with every series no matter how bad I think it looks because I am often proven wrong by the narrative.  I have learned to never, ever judge a show by its yearly gimmick or costume designs because writers have ways of doing amazing things with silly ideas.

I was happy to say I did like this new Kamen Rider, I found the characters and the concept intriguing once I got past the goofy costumes, flashy visuals and sillier parts.  One of the characters I was really interested by was our starting female protagonists, Asuna Karino/Poppy Pipopapo .

She was interesting to me not just because she was really, really cute (which I admit is something that hooked me at first) but because it turned out she was a computer generated character and later, we discovered she was actually created by the Bugster Virus that is the series primary evil force. This, of course, raised some questions for me because the other two totally sentient, self-sustaining Bugsters we have seen got their sentience through the deaths of the hosts they infected.  Was Poppy the same?  Was she given her own sentience and ability to exist forever in the real world because she had infected and killed someone?  That’s still yet to be answered and I really think it needs to be addressed sometime in the series.  

However, that is not what I am here to bring up today.  What I’d like to bring up is the issue of Agency and how it relates not just to Poppy Pipopapo but how her treatment in the series (intentionally or not though I have a feeling it is the latter) relates to the issues of Agency in female video game characters in general. Yep, I’m going to be talking about women in video games and Kamen Rider, so I am bracing myself for hate, hate, hate, hate, hate.  Sorry but this is something I’ve been thinking about all weekend after the events of episodes 24 and 25 and I needed to talk about it.

Oh and as a warning SPOILERS TO FOLLOW!

So, what is Agency?  One of the definitions of Agency from Mirriam-Webster is:

“ 2:  the capacity, condition, or state of acting or of exerting power”

So, someone with Agency has the power to decide what they do in a day, what they wear, what they want and how they act.  For example, someone with their own Agency can say no to something or decide against a certain action based on weighing how it will effect them or those around them.

Now, the essential question is, do Busters in general have Agency? I would argue that those who have freed themselves from their hosts (through the act of maturing the virus, killing the host and using that loss of life to achieve sentience) do. We see Parado (or Pallad depending on your translation) defy his creator and even kill him. We also see Graphite defy the orders given to him out of a sense of personal desire.  That’s Agency.  

So, now we ask, does Poppy have Agency?  If she’s escaped from the confines of being just a game character, the answer is yes.  We see hints of that in the beginning when she wants to give the Gamer Driver to legenday Gamer M instead of the Doctor arriving by plane that the Ministry of Health wants to have it. So, at least at the beginning of the series, she has some Agency and ability to make her own decisions.

Then we get to episode 24 and when all of that ends.  Poppy is reprogrammed by the new head of the GENM Corporation, who in essence own her as she was born from one of their products. She becomes an integral part of the Kamen Rider Chronicle game and has her ability to say no essentially taken from her.  She shows small signs of having her own will still (such as when she slapped the new CEO for getting a little handsy) but she cannot refuse to harm her friends of innocent civilians anymore.  She has been reduced from a person (or a reasonable facsimile thereof) back to just a game character.

She has gone from a self-willed ally of the heroes to a villain or, perhaps worse, been damseled and become someone who needs to be rescued. This is a common problem in video games (and other forms of entertainment mind you) where female characters are used more as props or shown as victims with no choice more than they are self-willed characters in their own right.  One could argue that no one in a narrative has any real Agency as they are all products of a writer but in the story, they should have some way of acting in their own interest or making choices.

Now, I am not saying Toei intended this to be a commentary on Agency in video games for female characters.  I don’t think they are that subtle or forward thinking in their writing as is evidenced by the treatment of women in Kamen Rider since the series began and their relegation to secondary characters, disposable Riders or shoved into the movie-only category.  I’ve covered that enough before. 

However, what’s been done to Poppy is different.  She has gone from being a character to being just a mascot for this new game.  Her entire persona has been hijacked and she has been recalled by the company that created her. If she could be recalled, reprogrammed and edited like this it raises the question of whether she even had any power to make her own decisions or if that was an illusion of free-will created by her programming. I can’t answer that though, if the writers of the show are smart, they will address this in-universe.

My greatest worry is that this will never be addressed and that Poppy will suffer the same fate as many women in Rider series past and perish.  That would be a horrible missed opportunity and something that would probably ruin my enjoyment of the show.  I know she is going to become a Rider (though I have yet to see episode 26) and that just raises another Red Flag for me.  The last time we had a female rider (In Kamen Rider Ghost) she got to transform for a minute before being tied up and turned into a damsel in distress for the rest of the series.

That’s not even mentioning the scads of times women have been denied the ability to be a Rider at all.  Again, I’ve covered that before and I won’t get into it too much here but it is important to note in the treatment of female character in Kamen Rider.  I worry that Poppy being a Rider, and an apparently evil one at that, is going to raise the flag for her death or reduction to just another will-less opponent or girl to be rescued.  That would be sad as we’ve seen that too many times in this franchise.

Now, we still have to see how this plays out on screen.  All of my concerns -may- be addressed or they may not.  I am still very interested to see what happens in the series and I will likely keep going to the end but this kind of plot twist seems a bit obvious, contrived and forced to turn a good character into someone utterly controlled not just by the villains but by the plot.  It robs her of her Agency in the story and turns her into just another female character in distress.

I wouldn’t even be complaining or wondering about this if the series hadn’t gotten me thinking and if I didn’t care about it.  I wouldn’t have written this much about a series I didn’t care about or wasn’t invested in.  What it boils down to is, I care about Poppy’s treatment and the outcome of this story because:

I LIKE KAMEN RIDER EX-AID!

A Diamond in Dystopia

She says she can’t complain
well she could
but she won’t
she’s taking a moral stance,

She turns her back to them
says I’m not buying what you’re selling
They nod smugly
grinning a perfect
parasite smile
cuz they run the show
already own all the options,
she drew a line in the sand
but they bought that beach
used the sand in cement
shipped it to China
now her resolve
is a sub floor
for a fourth floor apartment
in Chengdu,

The virus has killed the host
preserved it’s body
familiar facade
for family friendliness
which she knows
but she also knows
knowledge is nothing
in this New Age
of perfected propaganda
somebody somewhere
thinks they understand her
and can craft the pitch
to match her desire
but what she needs
can’t be bought
a bit of beauty
spontaneous and natural
independent of appreciation
not relying on observation
yeah that’s not something
that can be sold

Yet

anonymous asked:

Do the members of the collective choose human vessels based on people who become targets to them (Noah and Seb for example) or are those vessels apart of the game because they were predestined to be vessels?

the vessels are injected with this foreign slender-code when they become members, kinda like how a virus infects a host. this code changes them, giving them special godmode rights but at the price of the code taking the roll of their personality, making them become subservient to the new boss. firebrand was able to override that function, severing the boss’s connection and retaining the godmode powers.

Bet (Grayson) - Requested

Euphoria wasn’t even close to the feeling that erupted from the depths of your body when you thought about your boyfriend. You never knew this type of happiness could exist and rely all within one person. Your heart yearned for him when he wasn’t there just as a virus does for a host.

Happiness captivated your mind while you rested your back against the pillows with his toned arm molding the nape of your neck. Your fingers twisting amongst his other hand that rested on your abdomen. He had a strict focus on the movie playing in front of you, one you had never really cared for but sat there for the sake of his happiness. His chest rumbled while the cotton shirt rubbed against your arms. You shut your eyes memorizing the blissful sound of his laugh until his phone vibrated against the nightstand. His fingers seeped through the spaces between yours and his bicep pushed on the nape of your neck as he reached for his phone.

You saw that it was a text from one of his best friends Ryan. Grayson introduced you two and invited both of you to hang out with him; however, it never went well. No matter what you did, Ryan was never fond of you and seemed to laugh at you along with his other friends leaving you clueless about how to fix this. Grayson’s thumbs raced across the glass screen quickly sending messages with an uncomfortable smirk sitting on his face. Your eyes drew their way back to the TV screen while his conversation continued.

“Hey, babe, I’m just gonna go to the bathroom,” Grayson grunted as he got up and made his way across the floor. You nodded and yawned reaching over his side to grab the remote when his phone vibrated again with a message that caught your attention:

Ryan Karoly

When are you gonna do it or do I get the honors of telling her?

Your eyebrows knitted together before you peered over to the bathroom door knowing you had a bit of time. Your trembling thumb slowly slid across the screen unlocking it to see what Ryan was talking about.  Scrolling up to the beginning of the discussion, your eyes darted from message to message soon learning why Grayson was really with you. Ryan bet him.

Pain stretched from your heart to every other part of your body. How could he do this to you? He always seemed so genuine. He seemed like he cared. Your pain changed to rage realizing how stupid you were to believe him. Everyone knew that Grayson liking you was too good to be true.

The hinges on the door squeaked revealing the bastard that you spent all your time with.

“A bet,” you whispered looking down at your lap.

“What?” Grayson asked not hearing you.

“A BET,” you now screamed knowing well that he could her you.

His eyes widened suddenly understanding what you were talking about. His lips parted about to say something until you interrupted him.

“How could you? I thought what we had was real. I know that I was stupid for believing you, but that doesn’t change how much of an asshole you are to think that it’s okay to do that to someone especially since I told you that jokes like this are the sickest kind. My friends told me that I shouldn’t go out with you because all you would end up doing is hurting me, but I didn’t listen to them. I chose you and dropped them. I defended you because I saw a side of you that they didn’t, but now I know that side was all a mask to make a joke of me. I left the people that really loved me and would never hurt me to be the punch line of a joke. Grayson, you are just a cruel bastard with no sympathy or morals. You just listen to what your friends tell you to do, so you can feel accepted. I can’t believe I ever sympathized for you and wanted to help you,” you ranted.

“Oh, and here you go,” you said tossing his phone back to him. “Now you don’t have to worry about breaking up with me because Ryan did it for you.”

Your arm outstretched for the doorknob opening it and making your way out. Grayson grabbed your arm trying to get you to stay but you ripped yourself from his grasp. Quickly you ran passed the family room where Cameron saw you and asked what was wrong. You looked behind you making sure that Grayson wasn’t following you. You knew he wouldn’t because to him you were just a bet.

“It’s nothing, Cam, but can you take me home?” you quietly pleaded.

 “Yeah, sure, do you want me to go get Grayson to come with us?” she asked.

“No, I can’t really deal with seeing him right now,” you struggled to say leaving his house and getting into her car.

When you got home, you went straight to your bed and the texts and calls flooded your phone and seemed to have no end. You finally turned off your phone needing a break from the world just to be with your mind. You eventually fell asleep and woke up to see that it was only 7 pm. Remembering what happened you went to grab your phone to see if there was anyone you could call at a time like this. Normally, you would be able to call Grayson about this, but he was no longer an option. The apple logo appeared before switching to your lock screen seeing:

Grayson Dolan iMessage (27)

Grayson Dolan Missed Call (19)

Rolling your eyes, you put in your passcode and opened up the texts. You saw a plethora of apologies and him claiming to like you and admitting that it was a bet, but he really did fall for you. Part of you still hated him, but another part wanted to believe him. You were flicking through the conversation and found yourself calling him and bringing the phone up to your ear. After a few rings, he picked up and whispered your name. You remained silent for a few seconds before asking him the one question you had.

“Is it true? Do you really feel that way or is this some other part of the bet?” you lightly spat at him.

“I promise you, (Y/N). This is not a part of the bet. I’m going crazy knowing how much I hurt you and can’t be there to comfort you. Please forgive me and I’ll tell the guys that we actually are dating and that I genuinely like you. Please just let me comfort you and make it up to you” he begged.

You let out a long sigh taking your time to think about what he had just said.

“Please, (Y/N)”

This time you heard his voice crack. You knew he was telling the truth and couldn’t deal with himself anymore.

“Fine, but only if you come over here right now,” you giggled.

He struggled letting out a tiny laugh before thanking you for taking him back before he rushed over to your house for a long night of cuddles, Netflix, and takeout.

RE6 Files: Sherry Birkin

File #45: Sherry Birkin

Sherry Birkin is a 26-year-old U.S. agent working under the direct command of a U.S. presidential aide.

She is one of only a handful of people to survive the Raccoon City Incident in 1998. During the incident, Sherry was infected by the G-Virus. While she survived exposure to the virus itself, the U.S. government took her into custody to monitor how the virus would affect her physiology. Thus began her time as human guinea pig, poked and prodded by curious scientists and government officials.

In 2009, she was inexplicably offered a position as a special agent in the employ of the United States. She quickly assented in order to escape her life of forced imprisonment, even though in practice she was still under the watchful eye of the government.

She lacks the experience of more seasoned agents, but she can still hold her own against Jake Muller, and she’s capable of providing the emotional support he has lacked for most of his life.

In spite of the tragedy she has witnessed, she still believes implicitly in the good of people. Her relationship with Leon and Claire since they saved her in Raccoon City has never changed. Below is a letter Sherry wrote to Claire before deploying to Edonia.

Dear Claire,

I’ve recently been ordered to go on a mission overseas, but I’m not allowed to say where or what it’s about. I know you’ve always told me to stay away from this kind of stuff, and I know you were just worried about me, but it’s the only choice I had. It makes me happy to know that I might be able to prevent others from ending up like I did. Even this mission I’m about to go on will make a difference.

You’ve always been so kind, but you don’t have to worry. I won’t do anything stupid. You saved my life, so I plan on keeping it for a long, long time.

Yours Truly,
Sherry

File #46: The G-Virus

William Birkin, father of Sherry Birkin, is responsible for the discovery of and research on the G-Virus, a virus with incredible regenerative and reproductive abilities. The G-Virus causes the host to lose rational thought, turning it into a violent creature that seeks to replicate the virus as an embryo in a person with blood ties to the original host.

During the Raccoon City Incident, an armed group sought to steal the G-Virus, and killed William Birkin in the process. Before his death, however, Birkin injected himself with the virus, thus consummating his life’s work. Revived by the virus, Birkin sought out his nearest blood relative, his daughter Sherry, and injected her with an embryo for the G-Virus. Claire Redfield created an antidote to stop the embryo from mutating Sherry’s body, but even after the expulsion of the embryo, trace amounts of the G-Virus remained in her body.

The result of the government’s tests on her is that she has incredible regenerative abilities, including immunity to most viruses. Her youthful appearance is thought to be due to the G-Virus as well.

Below is a note written by a researcher who was involved in the study of Sherry’s unique condition.

Sherry Birkin was the light from the darkness that engulfed Raccoon City. She is a miracle.

The small amount of G-Virus that remained in her body is still active, but produces no harmful effects. Only its regenerative properties have been activated, making her almost immortal in a way. This also is what makes her look so young, since it has halted her aging processes. Plus, she now has a strong resistance to all other viruses.

Unfortunately, I don’t think this comes as a blessing to Sherry. She will always be different from everyone else which will probably cause her some pain. But I think she will pull through. She’s strong, kind, and has such a positive outlook on life, no matter what the situation.

I wish you nothing but happiness, Sherry.

File #53: Sherry and The Raccoon City Incident

In 1998, William Birkin, father of Sherry Birkin, decided to keep the results of his G-Virus research for himself. His superiors at Umbrella had grown tired of his attitude and sent a commando unit to retrieve the virus for them. The unit’s mission coincided with the T-Virus leak that had contaminated Raccoon City. The confluence of the two events contributed greatly to the city’s destruction.

Sherry Birkin was also caught up in these events, but thanks to the heroic efforts of Leon Kennedy and Claire Redfield, she was able to survive the incident. Sherry considered Claire to be her new mother after losing both her parents. It was Claire’s love and devotion that had the greatest impact on Sherry’s development, and Claire’s nurturing and compassionate ways have manifested themselves in Sherry’s own personality. Sherry and Claire both led very busy lives, but Sherry still made an effort to try and meet when their schedules allowed it.

Below is an e-mail addressed to Claire, but accidentally sent to a co-worker.

Hey Claire,
I was able to get some days off at the end of next month when you said you’d be in America. I have so much I want to talk to you about. I can’t wait to see you!

I’ll send Ronny a message, too. I bet he’ll be excited to hear you’re coming back!

File #54: Life Without Freedom

Following the Raccoon City Incident, the U.S. government decided to take Sherry Birkin into custody and keep her under observation because of the trace amount of the G-Virus that remained in her blood. Claire Redfield stayed by Sherry’s side during the time she had to suffer through daily tests and experiments.

While it was Claire who provided emotional support, it was Derek Simmons who became her legal guardian.

Claire visited Sherry as often as she could, trying to help Sherry overcome all the trauma she had endured. Sherry idolized Claire, and was determined to be just like her: a strong, capable woman. Derek was not without compassion for the orphaned girl, and he allowed Claire, a civilian, to visit and comfort Sherry, even though the girl’s existence was a closely guarded state secret.

In total, Sherry spent 11 years in the hands of the government. It wasn’t until 2009 that she was given any freedom.

Below is a letter that Claire tried to send to Sherry during this time. The letter was intercepted, but never shown to Simmons. The person who found it sympathized with Sherry and Claire’s situation, but couldn’t allow it to go to Sherry, so he had it destroyed in secret.

Sherry,
I don’t want to make things any harder for you, but I need you to be careful around Simmons. I know he’s been supportive and let’s me see you, but something’s not right with him. I don’t have any proof, but I know what people look like when they’re hiding something, and I get that feeling every time I look into his eyes. You are so trusting of people, and it worries me. Please just be careful, for my sake.

I’ll be busy, so I won’t be able to come and see you for a little while. Keep being your cheerful self.

More RE6 Files at IGN.

i try to inject some science into amc’s preacher

yes, you heard it here folks… i’m gonna try and use my 3+ yrs of undergrad education to explain vampirism/cassidy’s immortality bc why not: 

i’m gonna do a very lazy series of bullet points bc that’s as much as my brain will allow today. but if you have any questions for things i glossed over, just reply or hmu via IM! 

  • cassidy’s got extra totipotent stem cells ( can become ANY cell including placental cells ) stored up somewhere in his body–probably activated via some complex signaling mech./signal induction that definitely does not exist irl. 
  • the process of human –> vampire i guess is similar to a virus infecting a host?? in that the virus invades a host cell, gets it to make multiple replications of itself by injecting its own DNA or RNA into the host cell (instructing mRNA / messenger RNA if it is an RNA virus to replicate the virus OR w/ neg. stranded DNA/RNA, virus is produced via transcription –> translation )
  • on a side note, this is not the same as the rather famous Turritopsis dohrnii / immortal jellyfish bc they’re immortal thru transdifferentiation and i’m not about to go and try to explain this in detail except that basically, they force their mature somatic cells ( any cell that’s not a reproductive cell ) to turn into different types of cells w/o an intermediate pluripotent cell stage ( can become any cell BUT placental cells ) so cool but also weird and confusing af 
  • ramblings aside, this explains his healing abilities–like salamanders/lizards, when tissue or cells are damaged, a signal is sent out and stem cells rush to the point of injury. this is known as complete regeneration. we humans, for the most part, only have incomplete regeneration, though the liver’s quite good at regen ( hence why ppl can donate like half their liver and still be A okay )
  • for whatever reason, this “regen” signal cascade is fueled by blood in vamps. idk, still tryna figure this one out scientifically but it is what it is *insert shrug emoji here* i’m not even gonna try and wiggle a “real” answer to this so feel free to add on here if you wanna!!
  • as for his immortality, this would be most likely due to his telomeres (the ends/”caps” of chromosomes that protect DNA from damage). in regular ppl, senescence/biological aging occurs bc our chromosomes become too short to divide– a result of our telomeres shortening. 
  • however, there is a reverse transcript enzyme known as telomerase that, as you might expect from the name, is able to replace telomeres. stem cells exhibit high levels of telomerase– which feeds back into what i explained above! bc cassidy has these extra amounts of stem cells, they no doubt help him in his whole non-aging process. unfortunately, telomerase is also present in cancer/tumor cells… so it’s not all good things and, if left unchecked, can cause excessive + abnormal cell growth but this is a fictional universe and everything works perfectly so cassidy is basically indestructible 
  • in regards to sunlight, perhaps the rays mess up the whole process? both the aging and regeneration? idk guys, there isn’t much science in why UV light would make a person burst into flames otherwise other than spontaneous combustion but that’s not exactly scientific. my best guess is that UV light/radiation disrupts these mechanisms and causes rapid necrosis ( due to injury from the sunlight ) as well as rapid apoptosis ( programmed cell death ). 
The Hateful 8 review that I promise was not intended to be some sort of history lesson

Quentin Tarantino’s script for The Hateful Eight notes an undetermined time period after the Civil War. 6 years, 8 years, or 12 years after the unconditional surrender of the Confederates to the Union Army. This is significant in the sense of America in this film is still being in the shadow of the civil war with Reconstruction, with Radical Republicans who wanted the South punished or versus those who wanted the South to get much more lenient treatment, as the Union was ultimately preserved, and a preserved Union needs some kind of ‘fairness’ for the defeated Southerners and Confederates. This was a clear tension in the country, as our characters in The Hateful Eight directly involved in the war have no feelings of togetherness or camaraderie, even if they were on the same side in the fight. But at the same time, this country that was quickly expanding out into territories that went far off the Mason-Dixon line, beyond the borders and alliances forged of North and South during this horrific war. Which brings us to Wyoming, the setting of this film. It didn’t become an official state in the United States until 1890, years after the Civil War and even years after the unclear time frame that Quentin Tarantino throws out there. It leaves the feeling of wide-openness and possibility in a place and space like that that seems so distant from that time and place in history. But there leaves a possibility for evil to creep in. The Hateful Eight is not just about the tensions of North and South but in the aftermath of that war, a war that involved so much bloodshed, sacrifice, alliances forged, grudges held, and certain degrees of betrayal, there may be something worse around the corner. After two consecutive films of alternative history used in the form of revenge by minority characters who were harmed and personally effected by the historical atrocities that Tarantino interrogates in both language and action, we get a film where it ends on one of the darkest notes in his whole filmography. The Hateful Eight is minor Tarantino for me, this is not to undersell its quality that is still quite good, but it seems reeled in, and in such a way that is purposeful. The flourishes in language and dialogue are mostly found in relation to the ruses and lies of these characters while the splattering gore in the violent acts committed in the film clearly take from horror, Italian horror and also the major horror touchstones in America with The Thing and The Exorcist, underlying the grotesquerie and the spectre of the evilness these certain characters confront if not embody themselves.

There are four characters in The Hateful Eight that directly share a history in the Civil War, a split of two on each side in the Union and Confederacy, North and South. For the North there is the lawman John Ruth, as played by Kurt Russell, who we can describe as both the stand-in for the trying to be upstanding white liberal who while trying to maintain the carry out of law and order in the still underdeveloped West is showing cracks. Russell’s performance plays on John Wayne, something he is certainly not unfamiliar with, but particularly in the manor of certain John Wayne performances fighting each other out (certain John Wayne performances that immediately sprung to mind was his roles in Fort Apache and She Wore a Yellow Ribbon, particularly when Russell puts on his glasses to get misty-eyed reading Major Warren’s Lincoln Letter). Tarantino is known John Ford skeptic if not critic (and how I hate when a director I admire hates…. another director I admire), and his shades to Ruth are on one hand a man who prefers the hard way, law and order as far as carrying out hangings rather than shooting a known criminal because that would be easier, and on another hand has such reactionary, physical cartoonish impulses that turn violent in attacking his current bounty, Daisy Domergue. Much can be made of the ways the assaults of Domergue play out. At first it is so shocking that you definitely cannot help but let out a laugh, and you may even still laugh when Major Warren himself gets involved, but then it becomes something that is wearing down. Daisy is not letting up despite this abuse (we soon know why and we’ll get to that later) and at some point, for me at least, the assaults turn directly on John Ruth. It begins to show his weakness. He, who interrogates every man he has ever come across in this film as to maintain a certain stability, shows incredible instability in these violent acts. There is something about Domergue that makes it seem he cannot keep his bearings despite being not just on the right side of the law but on the right side of history. So when in the first 10 or so minutes of this feature we have Kurt Russell’s Ruth striking Jennifer Jason Leigh’s Domergue, we are already seeing a decaying sense of law and order in a grotesque and cartoonish fashion.  Domergue becomes this rapidly mutating virus toward Ruth- and soon enough personifies that virus meets host.  

On John Ruth’s side of the Union is Major Marquis Warren, as played splendidly by Samuel L. Jackson. This is a man we can say has certain grudges and grievances about what happened during the war. He survived and escaped being a POW by burning the whole camp down to be free, and yet, it seems he does still have to be in the mindset of mentally disarming people, even those who shared his views, by associating with the late President Lincoln, the 16th American President continues his presence in American cinema as a God-like figure (we will get to that later). His forge of the Lincoln letter to impress the likes of John Ruth is meant to disarm, to suddenly be seen as a charming black folk who has the approval from Honest Abe to be considered all right to fraternize with other white folk. When Chris Mannix mentions he heard something from the Union side that they thought Warren was too dangerous and radical for the cause, you tend to believe it not because you think Warren went too far, but that you believe that there are more than likely white folks who are scared of Warren for exactly the reasons he laid out, that white people are only comfortable around him unarmed. But in the way Warren uses the Lincoln letter to disarm even the most sympathetic white folks, he raises his own spectre of the most grotesque things imaginable used to dehumanized black men like himself to pretty much rub it in the face of Bruce Dern’s Confederate General Sandy Smithers. There is a direct war connection between these two people in the Battle of Baton Rouge where Warren’s central grievances lie on the fact how the captured black soldiers by the Confederates were treated the equivalent of extra cargo and horses, and murdered. Smithers still defends this act, a man who will never learn or be rehabilitated in his ways. So, and this is my interpretation of the events that lead up to what closes out the chapter (and the first half of the 70mm roadshow), Warren tells Smithers a story of what became of Smithers’ lost son and that he stripped the son naked to only sexually assault him through oral sex in graphic detail. But let us note the detail belongs in words and that the cross-fade of the image of this son at the mercy of Warren is with an image of Smithers, as to point to this image being in Smithers’ head. ‘You seeing pictures now?’ We cannot be sure these events had happened, but we do know that Warren then kills Smithers and instead of Warren just killing Smithers right there at first sight, he instead gives him a parting shot of the worst possible thing Smithers could ever imagine having happened to his son due, in part, to what he had done during the war. I, again, do not actually think the events and actions took place, but that Warren is showing the split dualities of his place in the world, not unsimilar to Ruth, that have been essential to his survival. But that does not necessarily mean he has clear control of these dualities, much like Ruth seems to not have control.

We then move to Chris Mannix (for what should be Walton Goggins’ breakout from television) who has declared he is the future Sheriff of Red Rock, but we cannot be certain for it to have been true. Mannix is from the South and part of a group of Southern bandits who tried to fight back for the Confederacy. He holds a grudge for Warren’s actions during the war and even seems to have these urges of contemplating the ways the South could have maintained their old order. But Mannix still feels out of depth against the likes of Warren and Ruth. Heck, Mannix seems to be more on equal footing with O.B., who drives the stagecoach. But we soon find that him and Warren, and to a certain degree Smithers, are all caught in the web of deceit at Minnie’s Haberdashery that didn’t even involve them. 

In a way the first and second halves of the film are about how the first half is about the North and South tensions while the second half reveals a third party, both figurative and literal, that reveals something more evil and worse. It makes sense why this specific story is in the West and a remote location of Wyoming. The American frontier opened up for possibilities of a new life and yet, these second lives of people from the war, that they are holding onto are confronted by something by people without borders, without a real past, not quite tangible. This first comes in the form of Daisy Domergue, who begins the film so feral and so not human-like. She can take these beatings, increasingly looking beyond recognition of a person, let alone a woman. But once you realize what plans were taken on her behalf at Minnie’s Haberdashery, you sense a jocularity to Jennifer Jason Leigh’s performance, such as the over the top hanging gesture, and that she continues to grin in her increasingly toothless (due to increased beatings from John Ruth) smile. The character Daisy Domergue grows in grotesquerie and monstrosity, on the receiving end of one last beating from a poisoned John Ruth, only to have him puke blood in her face that makes her look like the diabolic Carrie White (by the way, Kurt Russell is now in the second grossest Western of the year in addition to being in the first, Bone Tomahawk). She wears his blood almost in pride. We see that the setting of the Haberdashery had been in her favor. Everybody at Minnie’s Haberdashery are of the Domergue gang plus Dern’s Confederate General and have been waiting for Ruth to be there to kill him and take Daisy. They are without borders, without a real back story beyond killing, and can build ruses and charm folks but turn on a dime to kill if it means taking care of their own. The poisoning of John Ruth was a success for Daisy and the Domergue Gang but what was never taken into account was that Mannix and Warren would be involved due to pure happenstance. Daisy’s racist as all can be and would seem sympathetic to the South’s view of blacks, but she nor the Domergue gang take any real stance on the war. They seem to look at the past with a distance, like Oswaldo Mobray declaring the Haberdashery be divided by North and South for the characters involved in the war, something that does not appear to involve any of the Domergue gang. This could be just the case of geography, on the periphery of the war (such as that scene of Blondie and Tuco seeing the Civil War spillover into the New Mexico campaign in Sergio Leone’s The Good, The Bad, and The Ugly that feels so out of their world), but also in time.

Note how in the flashback to Minnie’s Haberdashery that Minnie herself describes Bruce Dern’s Confederate General as an old man in a 'foreign’ uniform. It is an interesting choice of words and given that this is a Tarantino film, it seems on purpose. Minnie, a black woman, seems young enough where she was at most a child during the War and it begs the question of whether or not she was born a free woman due to time or geography. So foreign uniform as the Confederate uniform could represent a type of country that ceased to exist but also just a ‘foreign’ concept to a woman from a different time and place. Again, it shows the possibilities of a growing country that is not specifically tied to a dark past. It is the idea that you can make the rest of America anything you want, and while Minnie’s Haberdashery shows the harmonious side to that oh so very American idea of a post-Civil War inter-racial harmony, Tarantino quickly destroys it by making the Domergue gang the embodiment of evil. The Domergue gang sacking this place by unmercilessly killing everybody in it but one that represent a certain odiousness where it ties back to John Ruth and Major Warren’s debate on frontier justice versus law and order. The Domergue gang know of Ruth’s reputation and prepare accordingly by killing him and any collateral that stands in their way of freeing Daisy. 

Over the course of this film is a slow decay of the idea of law and order in the face of frontier justice. For one thing, one of the upholders of the idea of law and order dies, while the others who respect him are splintered against a group of people who forged bonds to save their own fellow outlaw. This situation forces Mannix and Warren into a bind that ultimately does become a bond. Mannix and Warren are facing monsters and shape-shifters of what may or may not be surrounding them in snowy mountains of Wyoming. Mannix chooses Warren’s side when told by Daisy he can be considered 'an innocent’ as opposed to Warren, who shot her brother dead. When I think about why there is so little backstory on the Domergue gang in that we know equally little about their ruses as much as their real identities not to mention the most prominent ones in Jody and Daisy hardly have any calling card beyond their sadistic and masochistic streaks, I truly do think Tarantino has them standing in for spectres and monsters. They are the sickness, the source of rot and decay in America, an infection, a disease that hits whoever touches them. They are more the future of what evil is to hit the rest of the country as opposed to the already damned North and South from the past. So when Mannix and Warren agree to treat Daisy with some frontier justice, they kill what lied there in the Haberdashery, but who knows if those 15 or so gang members are not going to kill them once the credits roll. Or if those 15 or so members exist at all. Mannix and Warren are screwed anyway due to the amount of blood they lost. In this forged bond they take comfort into Warren’s major lie of the Lincoln letter that Warren reads aloud, as though Lincoln is the deity they must face together as much as Jesus Christ. Lincoln himself wanted reunification and the Union preserved in ways that were not appeasing to his Radical Republican counterparts. Ultimately, Mannix and Warren do achieve what Honest Abe wants before their possible last breaths, but North and South seem out of sorts if not prepared for this growing nation that as much as it is haunted by its past, it also has its other forms of evil hiding, shape-shifting, dropping in, or somewhere else in the distance, unclear. The film The Hateful Eight ends with Roy Orbison’s song 'There Won’t Be Many Coming Home’ that seems to invoke the war, after this scene of two characters achieving inter-racial harmony and North/South Harmony. The lyrics are notably anti-war in the sense of that the man you are killing might as well be your brother and a loss is a loss, equal is equal. These two have accepted their equality but right as they are facing their impending death. The sides they opposed each other on were so much cleaner and clearer for them than what they had just faced and could be facing again. American history is messy and I do think the purposeful lack of clarity in the shadow of the Civil War is the exact point of The Hateful Eight. Even if we did get out of the shadow of the Civil War as a country that expanded and grew, what we became as a growing country was a huge mess with its own darkness.

anonymous asked:

Do you have a summary for your story with your ocs? Like what would be on the back of a book?

i have multiple stories atm, at least like.. five. i can tell about the main one for now.
im bad at writing but like. i can attempt?

but my main one the biggest one i call uninstall!
it’s a story that follows seren, who gets trapped into a virtual reality / video game world with his classmates after the games mascot, scarlet, announced for a ‘new update’.
scarlet had been taken over by a virus and she hosted a new type of game where everyone were to be forced to kill each others. 
there are multiple people inside the virtual world whos job is to murder people without getting caught, and keeping the game going on. they could be anyone, they’re liars. every class has at least one liar.
only way to get out of this game is to be the last one alive.
or wipe out all of the hidden liars. 
or by finding the person who caused all of this because they are in there somewhere as well.
but how on earth can you suspect your own friends?

i’ve worked on this story for about 4 years now? i think
originally it was supposed to be a dan.ganro.npa fangame but i decided to make it its own thing. i still wanted to keep most of the original ideas in it and stuff haha!

so “Reaper” has supposedly existed for decades…that leaves several possibilities in regards to Gabriel Reyes:

1)He was never Gabriel Reyes to begin with, was always Reaper, pretended to be Gabriel to work his way up in rank (I find this to be the most unlikely from the standpoint of him being in the military, giving mccree a second chance, etc, but it doesn’t rule it out as some sort of complicated ruse).

2) Is some sort of virus that controls a host, but lay dormant until he died or it was otherwise activated (kind of a sleeper agent situation)

3) Is some sort of virus that controls a host, but only “possessed” Gabriel at his time of death/resurrection

anonymous asked:

Host growled at the anons as he pulled Virus closer to himself. "Not yours," he growls nuzzling into Virus' neck. "Host's."

Virus giggled and wrapped his arms around his boyfriend,

“Host-y~!” He smiled and kissed their forehead.

@hostiplier

anonymous asked:

Can I ask for 5 facts about Sol? Like you're doing with other characters?

1. He has a guilty pleasure for milkshakes and it’s the only thing he lets Mara eat when he’s possessed her. Ya know, cravings.

2. He’s one of the most powerful creatures in the universe at his full power, and can create galaxies on a whim as well as destroy them. But he’s really scared of Chihuahuas.

3. He’d never admit it, but because his planet didn’t have sound, he really likez Mara’s singing. As do the other Virus’s. So he secretly encourages her to do it by allowing her more power if she does it mid-fight or so on. There are a lot of song battles in Virus.

 4. Sol and the other Virus’s have been here for centuries before they all gained hosts and we able to start their plan. He’s responsible for a lot of alien abductions over the years. He was bored. 

5. Mara was not his first host.

{ MODERN AU }

{ ooc. I kind of realised that I haven’t put up anything to do with a modern AU for Naeva, so-
it’s high time that changed. I’ll be adding this to her about page- }

  •           Naeva is currently a molecular virologist working in the field of research, focusing on virus-host interactions. When not doing this, she can be found running lectures and laboratory sessions on molecular virology at the very university she studied at in order to make that little bit more money just in case if something were to happen with the funding for her research. 
  •           She was originally born and raised in the Middle East, however moved away from her home country in order to pursue her degree, initially being supported by her father. As such, Naeva is fluent in Arabic and English, predominantly speaking the former at home nowadays.
  •           As per the other verses, Naeva married at the age of eighteen, and had her first child at the age of twenty. Despite this, however, she worked to raise Robin with as much love and care as possible, but did not stop studying, bringing her child along to university until they were old enough to go to school.
  •           After years of stress, and dedication in order to maintain a standard which would allow her to qualify for a PhD, she eventually manages to succeed, making her a Doctor of Moleuclar Virology. Understandably, she takes pride in both her title and accomplishments.

// how many threads do we got here…
// one… two… three…
// that one i dropped… that has a good end… that other one i also inda dropped…
// i think three threads atm
// no, four. four roleplays atm

// i wanna do more with pastel boi. and virus. and host maybe.
// someone go get ‘em

// good night