2020 in Review

I remember seeing a trailer for this a good while before I managed to catch it at and wondering what it was all about. I went into the cinema to see the film still as curious, with no real idea of the plot or even the genre. Arguably, I left with no definitive answer either – but that’s not a bad thing. Artistically, the Lighthouse is a beautiful film. Shot in square ratio and entirely in black and white – the film evokes the eerie nature of many horror films of the 30s. I do personally find that in the absence of colour, you tend to pay more attention to the use of light in film – and the way scenes were lit at moments evoked both mystery and foreshadowing. If you’re looking for a clear cut conclusion, you won’t get in here. If however, you enjoy looking for the subtle hidden meanings of films – The Lighthouse is full of them. From the fall of Prometheus to the hints of homoeroticism and sexual repression – I get the impression every viewing of this film would bring something new. The Lighthouse may not be for everyone, but if you like films that make you think and crave a second (or third) watch – I’d definitely recommend.

I was really excited when I heard Universal were looking to reboot some of their classic monster movies. Whilst I enjoyed the revamped ‘Mummy’ – apparently I was in the minority, and I worried that the franchise would be over before it begun. Thankfully, I think The Invisible Man featuring Elisabeth Moss has gained traction where ‘the Mummy’ failed, adding a gritty, realistic edge to the classic monster story.
The Invisible Man on the face of it seems miles away from the original Universal horror production and instead focuses primarily on character development, building dread entirely through the complex dynamics between the characters. 
I really enjoyed this modern twist on the tale and whilst this may be in essence a ‘monster movie’, the thing that made the Invisible Man scary was not supernatural, but instead what people are capable of doing to each other.

I first saw Saint Maud at Glasgow Frightfest, before catching it again when it had its wider release later on in 2020. This was my favourite movie of the festival and despite how good many others were, a stand alone winner. Plus – bonus points for having a female director, really showing how it’s done. 
Saint Maud is a subtle, intensely creepy English horror that raises so many questions about mortality, religion and belief.
The tense atmosphere creates a sense of dread that builds through the movie, with few actual ‘scares’, that make those that do come so much more unexpected and chilling. I love films that have more beneath the surface than initially evident, and Saint Maud says so much whilst giving so little away. On top of that, the predominately female case give outstanding performances. I cannot wait to see more from Rose Glass.

In The Quarry is the perfect example of how if the writing and on screen chemistry of the actors is right, you don’t need a huge budget, complicated script, or numerous locations to create something really powerful.
In The Quarry is a simple film set in one location with a primary cast of four. that builds tension and dread purely on the dialogue and acting of the four alone. And it works SO well.
Very little happens in the movie, and yet you feel it creep by and your muscles involuntarily tense bit by bit until the movie reaches the horrific conclusion.
It’s a movie that makes you think about what people are really capable of, and how much we really know those close to us, especially under pressure.
The direction was flawless, the shots beautiful and the character development – excellent. 

I never thought I’d find myself cheering on a woman who was intentionally ingesting objects and harming herself, but at some point during ‘Swallow’, I found myself thinking, ‘Just do it. Show the bastards’. 
An illogical thought, true, but what Swallow does so beautifully, is immerse you into the lonely world of the main character in such a way that the pain of her situation feels so tangible you can almost taste it.
The characters are introduced as a happy, loving American family, content in their traditional roles. It isn’t long before it is clear that everything isn’t quite what it seems. The protagonist Hunter appears almost too polished, the parallels to Stepford wives and the retro fashions a strong metaphor for the patriarchal roles being forced upon the young woman. 
Without divulging too much, the closing scenes could be problematic for some – but oddly in my opinion this scene is incredibly empowering, as the protagonist is finally able to make her own choices. The credits roll over a backdrop of women entering and exiting a public restroom in a compelling narrative highlighting everyone’s own experiences and struggles.

All women who have ever received lewd, crude or hateful messages online need to watch this. So pretty much all women. Trust me.
Billed as a horror comedy, The Columnist is a cautionary tale for online trolls as our leading lady is pushed to breaking point – eventually seeking revenge against the vicious anonymous commenters that plague her online presence for daring to simultaneously have a voice and a vagina.
I caught The Columnist as part of FrightFest at home and I really did miss the crowd for this one as I can guarantee there would be whoops and cheers from the females in the audience as someone finally responds in the way we wish we could in such a situation.
The concluding scene of the Columnist also delivers what has to be one of the most iconic moments of fashion in a horror movie as Katja Herbers transforms into a blood spattered white knight of justice for all women who have ever experienced hate online. 

Given cultural objections, creating a film depicting such subjects tackled within Av is a brave move and I applaud director Emre Akay for sticking with the project despite numerous challenges faced in bringing it to life. Like a few others on the list, Av really gets under your skin because the horror it showcases is very much happening in the world today. There are points within the film that I found myself holding my breath and the unease doesn’t let up at any point.
Not only is Av an entertaining movie, it highlights the very real struggles still faced by many women today in parts of the world and the ongoing fight for equality and freedom.

I sadly missed A Ghost Waits when it originally screened at Glasgow FrightFest and the rave reviews had me kicking myself. Thankfully, I got the opportunity via the digital edition of FrightFest during lockdown and it more than exceeded the hype.
A Ghost Waits is a beautiful, emotive take on a haunted house story that is both humorous and heartwarming. 
Never did I think I would end a film at Frightfest in floods of tears, but this really got me (on second thoughts, maybe it’s a good thing I watched this at home rather than in public).
Simplistic but brilliant, A Ghost Waits just gets better as it progresses and is definitely a film that will stay with you for a long time afterwards. 

Another fantastic movie screened during lockdown (thanks to Grimmfest online) is Spanish horror/thriller Ropes – which I believe has now been renamed Prey. 
Whilst similar in nature to Stephen King’s Cujo – Ropes adds the additional element of vulnerability as the quadriplegic protagonist struggles with her situation made all the more difficult due to her physical limitations.
Whilst not exactly an everyday occurrence, Ropes really made me reflect on the struggles of some individuals living in an ableist society and highlighted both the emotional and physical toll it can take coming to terms with a life altering condition. 
Ropes is driven heavily by the powerful performance of Paula del Río and is both a tense and emotive tale that will stay with you.

I do love a good horror movie that can be simultaneously beautiful and horrifying and Relic does both excellently. 
A tense film that builds slowly, with some moments of true dread, Relic gracefully demonstrates that sometimes what really terrifies us is closer to home than we think. 
I was astounded at the imagination of director Natalie Erika James as she brought to life the sense of confusion and disorientation of dementia in such a tangible way. In particular, the scene where the viewer follows the characters as they attempt to navigate a familiar scene that is ever changing before them, really brought to life how terrifying it must be to be faced with a condition that completely changes what you thought you once knew. 
I must admit, this is another film that brought a tear to my eye at points with its poignancy and Relic showed that horror can be beautiful too.