Late Night With the Devil (2023) & Abigail (2024) with bonus mention of Mr. Magic (2023) & I Saw the TV Glow (2024)

I don’t think I could explain the never-ending life-chaos of the last year if I wanted to, but suffice to say my rudely interrupted Christmas Horror series is all polished up and in the queue…for December 2024.

I’ve abandoned any delusions of intricate multi-part thematic series posts in the near and, while I have so many complicated things cooking offline, am returning (temporarily) to the short review/reaction essay format of yore. Because a full site redesign is one of the many things in flux right now, I’m going to append trailers at the bottom of the post because they’re creating so much formatting chaos I’m starting to think I have a ghost in the machine.

I can tell you one thing for sure: horror film and literature has been an embarrassment of riches lately.

Two films I’ve been looking forward to popped up on subscription streaming services and/or VOD sooner than I expected. I am not complaining. Late Night With the Devil (2023) debuted on Shudder on April 19, the theatrical release date for Abigail (2024), although I didn’t actually see Abigail until this past weekend.

In Late Night With the Devil, Writers/Directors Cameron and Colin Cairnes present us with a found footage homage to Ghost Watch (1992), The Exorcist II (1977), 1970s late night TV talkshows, and the Satanic Panic which never entirely dissipates in the US. Purporting to be a reconstruction of a live 1977 Halloween broadcast intended to boost host Jack Delroy’s (David Dastmalchian) trailing ratings, the narrative integrates broadcast and behind-the-scenes documentary footage to show us the catastrophic consequences of Delroy’s hunger for success. Dastmalchian’s performance and the masterful mise en scène have, deservedly, garnered quite a lot of praise and attention. The rushed and slightly incoherent third act has also garnered a lot of attention, albeit minus the acclaim. Ditto the controversy regarding 3 AI generated interstitial images which appear during Delroy’s show.

(joke about the devil being in the details deleted in a rare display of self-control)

I’m less interested here in the messy bits here. Instead, I want to take a moment to praise Ingrid Torelli’s performance as Lilly. Torelli does a bang-up job channeling the 1970s vibe of the possessed child manifesting a demon under hypnosis, but what I found chilling were the moments when Lilly is a polite and composed child who stares down the camera lens, seeming to pierce the souls of the viewers tuning in to watch Delroy’s live spectacle. I found Lilly’s uncanny awareness of which camera is live both amusing and disquieting.

Found footage writers and filmmakers have long leveraged the rise of indie creators such as Youtubers, livestreamers, and podcasters to their advantage. Not having to contrive a journalistic backstory or mimic specific televisual elements can allow for greater freedom. Nevertheless, the medium of television remains a rich source, particularly for cosmic or supernatural horror.

I Saw the TV Glow (2024) opens wide theatrically this week. While I likely won’t get a chance to see it until it arrives on streaming/VOD, I might occupy a little of that time with a reread of Kiersten White’s delightfully creepy 2023 novel, Mr. Magic.

Without spoilers, Mr. Magic is about a phenomenally popular 90s kids show that everyone remembers but of which no one can find footage. I’m continuously surprised that I still find it surprising how much work it still is to research television and how much once-wildly popular programming – even clips – simply isn’t anywhere to be found online. Reading Mr. Magic makes this feel vaguely sinister. I mean, you can certainly argue that it’s sinister the way we underfund archives and repositories and how little attention we pay to media conservation and preservation and how many impediments there are to digitizing and cataloging content, even without the complicated issues around posting anything corporately owned in a manner both legal and equitable.

But that’s depressing and not nearly as much fun as thinking about demons.

And speaking of demons. Abigail. Holy cats and kittens, this is a fun movie! As the trailer makes abundantly clear, the plot involves kidnappers (played by Melissa Barrera, Dan Stevens, Kathryn Newton, William Catlett, Angus Cloud, and Kevin Durand) getting more than they bargained for when Lambert (Giancarlo Esposito) asks them to kidnap a young girl (Alisha Weir). Fans often complain about trailers with spoilers, but here Universal seems almost playful in the way they supply a trailer that basically dares you to go into the film believing you know too much. The film unspools its twists and wrinkles at a steady clip and the internal logic is pretty solid. Solid enough, at any rate.


Abigail (2024)


Late Night With the Devil (2023)


I Saw the TV Glow (2024)

Nightmare on 34th Street (2023)

Welcome to day 2 of Killer Christmas, which may or may not stick as the title of a series of posts about Christmas horror, but here we are. Where are we exactly?

We are in Hell.

Hell.

Or at least I am, because I spent 130 minutes watching Nightmare on 34th Street (2023) and the best thing I can say about this movie is that it’s over.

Nightmare on 34th Street is your basic “deranged failed children’s entertainer who comes from a long line of deranged Norwegian ventriloquist/children’s entertainers who are beholden to a demonic snowman puppet” anthology film.

This post doesn’t contain any spoilers, but it probably should.

The frame story involves the aforementioned Henry, who wears a Santa suit and invades homes in his small British village to tell children stories. This is ostensibly the framing narrative for an anthology that has at least one and possibly two additional frame stories outside or maybe within Henry’s frame story and how the fuck do you mess up a structure as basic as an anthology of short films around a theme as broad as Christmas with the tried and true framing narrative format of an adult telling kids 4 stories related to Christmas?

Look, I have a pretty strict rule about not shitting on indie or low budget movies for a cheap laugh. Movies that are intentionally craptacular like SyFy Originals? Sure, let’s snark! We’re all in on the joke! Hollywood mega-flops? Those babies are always fair game. But low-budget indies? I try really hard to approach them with charity and kindness because whoa baby, someone finished a feature film and put it out into the cruel world to distract us from our lives for an hour or two!

And I can take a lot. I went to film school. I taught sound for film. I’ve juried film festivals. I understand that film is a collaborative medium with a nearly infinite number of opportunities to spiral utterly out of control. I’ve seen films so bad they defy description. I’ve worked on films so bad they defy description.

I saw Cats. In the theater. More than once. On purpose.

I watched the Star Wars Holiday Special yesterday. Twice. On purpose.

And yet, Nightmare on 34th Street nearly broke me. It is with genuine sadness that I report that I found this film not terrible enough to be compelling, not boring enough to sleep through, and without the sincere ineptitude that can make a turkey enjoyably rewatchable. If you ever wondered how to make a slasher that’s violent and enthusiastically thematic but with an emotional palette that runs the gamut from saliva to beige, this is the movie for you!

But not for anyone else.

I cannot emphasize strongly enough that I do not recommend this movie.

About 20 minutes into this flick I went outside to get the mail and had such a long conversation with my neighbor’s dog that my neighbor actually handed me the leash, went home, put their laundry in the dryer, and then came back to reclaim their dog.

At this point I thought I just wasn’t focused enough, so I got a cup of coffee and ran the movie back to the point I went walkabout.

20 minutes later I was laying on my living room floor reciting Clark Griswold’s “Hallelujah! Holy shit! Where’s the Tylenol?” monologue from National Lampoon’s Christmas Vacation. Out loud. To myself. Just to break up the monotony.

Somewhere around the ninety minute mark I realized I was wandering around my house carrying a houseplant like it was a fussy baby. I can’t explain when I picked up the plant or why I thought it was going to ease my agony, but I’d vowed to see this thing through and apparently carrying around a ficus made sense?

The audio crapped out just as the clock neared the end of the 2nd hour. It was a Christmas Miracle!

I’m fairly certain I did some astral projecting during the final 15 minutes. And then I wandered off to get more coffee and forgot the movie was even running.

I probably would have just deleted my notes but then I searched and saw this title on some lists of new VOD holiday horror with nary a warning that Writer-Director-Producer James Crow shit the bed with this one. Crow actually seems to have potential, but sweet cheezits, if you’re going to pick a recent Holiday Horror flick to spend your precious time on, save this one for when you have a cold because maybe some Nyquil* will quiet the part of your brain that demands a semblance of logic.

Horror anthologies aren’t rare, and they often have a (single) frame in which an adult tells a series of stories to a child. I have a round-up post for next week about some Christmas horror titles, so I won’t get into the weeds here, other than to say that anthologies offer an opportunity to experiment with different techniques or styles or tones, or to string together shorter narratives that might not work on their own or have enough narrative heft to warrant being a standalone feature. But that sort of experimentation is generally understood to take place from story to story and differentiate them from one another. The way elements such as animated sequences, flashbacks, and hallucinations (maybe?) are used throughout this movie across the different stories is confounding. This is unfortunate not only because it makes it harder to keep track of where we are inside the frame(s), but because the animation had verve and comedic-horror timing that was so promising.

But, alas.

In the category of “words I never thought I’d write,” this movie could have used some expository dialogue early on because what, and I can’t emphasize this enough, the fuck?

I’m not saying that Crow should try to salvage this stinker, but honestly, the audio is probably fixable and some judicious editing could address the structural flaws and tedious killer-ventriloquist-daddy issues and reduce what feels like a truly punishing run-time in relation to the material. That said, the stereotypical depictions of mental illness and the peculiar fixation with facial disfigurement would require pretty vigorous intervention.

The movie opens with a family being slaughtered by a trio of escaped serial killers, then jumps 5 years to the same killers returning to slaughter the new owners of the house. The killers all have facial injuries and scars, a trope with a long damaging history. Throughout the film, the killers inflict grievous injuries to their victims’ faces. If Crow was attempting to attach some sort of significance to this or it was explained in Henry’s muddy backstory, I missed it. If you know what’s up with this, do me a favor: don’t send me those notes.**

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Krampus (2015)

Promotional poster with a demonic hand holding a snowglobe containing an idealized house.

Krampus (2015)

I spent most of November recovering from the Halloween season by watching Christmas Horror, as one does. I wrote a series and I planned to post the entries chronologically starting with Curse of the Cat People (1944) to subvert the conventional wisdom this is a newly emerging sub-genre.

But then I realized today’s Krampusnacht so I bumped Krampus (2015) to the front of the line.

Unfortunately, this was one of the posts I hadn’t finished writing and I’m in outer space because I just had some emergency dental work. On the other hand, what’s more old-school than blogging about something you haven’t finished started researching while you’re fucked up under the influence?

Yeah. So. Here’s the trailer. If you’re concerned about spoilers, you can take comfort in the knowledge that this film has an ambiguous ending, so you can still enjoy the running and the screaming and the homicidal gingerbread people even if you’re staunchly spoiler-free.

I don’t think there are any major spoilers in this post, but if you’re that concerned go watch the movie and then come back.

The folkloric figure of Krampus, a goaty fellow who takes naughty children to Hell, is presumed to be of Eastern and Central Europe. Krampus lore has an unsurprising amount of regional variation and there’s a great deal of debate about his pre-Christian roots and his relationship with Saint Nicholas and/or Santa Claus.

Germans were among the settlers in Jamestown in 1608 and millions of Germans immigrated to the U.S. through the 19th Century. Krampus-lore has certainly circulated outside commercial culture. Prior to the start of World War I, there were more than 800 German language newspapers and journals being published in the U.S. and if I was more motivated I’d dive into some databases to see what scholarship has been done with these sources in regard to Krampus. (Info via The Library of Congress).

I’d love to hear from folklorists who’ve looked at Krampus in early America. Belsnickle, a Krampus-adjacent figure, for instance, appears to have been transported (folklorically, not in a big crate) to Pennsylvania Dutch country and has a long history in the Mid-Atlantic and Mid-West United States.

As it turns out – googling yields a number of upcoming talks on this topic! On December 11th Viktor Wynd & The Last Tuesday Society is presenting a talk by Krampus historian Al Ridenour via Zoom, for instance. They ask for a small donation if you’re able, but talks are available as recordings after the event for registrants who can’t attend or who find themselves without power due to supernatural incursion.

Krampusnacht has been gaining ground in the U.S. over the last few decades, with a plethora of figurines, greeting cards, costumes, and props available on Etsy and at Big Box retailers. Local parades and festivals such as Krampusnacht DC are increasingly common, although Krampusnacht DC 2023 was cancelled but the website lists some related events around town.

Or, just stay home and watch Krampus, a 2015 Universal Studios/Legendary Pictures holiday confection that took a bit of beating from critics channeling their own inner Krampus when it was released but the film’s dark humor, quirky charm, and practical effects will likely keep your own family occupied for 98 minutes.

Krampus checks a lot of the boxes in the Christmas movie tropes checklist, including:

  • The opening scenes of corpulent, blue collar Americans behaving badly under an ironic music cue – in this case Bing Crosby crooning “It’s beginning to look a lot like Christmas.
  • The stressed out upper-middle class family – Tom (Adam Scott) and Sarah (Toni Collette) and their kids dreading the arrival of their crude conservative economically precarious family for the holidays.
  • The crude conservative family – Sarah’s sister Linda (Allison Tolman) and husband Howard (David Koechner) and their 4 children.
  • A gentle, seemingly irrational and superstitious elder – Tom’s mother Omi (Krista Stadler).
  • A disastrous family dinner.
  • The ubiquitous advent calendar marking the story time.
  • The unexpected arrival of a large drooling chaotic dog.
  • The arrival of the unexpected but expectedly hyper-critical Aunt.
  • Flannel plaid aplenty.
  • Unexpectedly harsh weather.
  • Awkward sleeping arrangements.
  • A demonic jack-in-the box clown-snake monster with a mouth full of nightmare teeth that swallows a tween whole and slithers through the vents at breakneck speed.Okay, maybe that last one is too specific. How about:
  • The arrival of a dangerous/sinister being or beings who either teach the family valuable lessons about togetherness, die bloody, or go on a rampage to punish this family for their hubris and lack of appreciation for traditional family values and/or Christianity.

    As far as Christmas movies go, Krampus is pleasantly diverting.

    The cast of seasoned character actors have the chemistry to sell us on the logic and naturalness of both their irreconcilable differences and their sadomasochistic impulse for an annual Christmas gathering.

    The practical effects are a hideous delight, while the gore is relatively restrained.

    A scene in which Tom’s (Adam Scott) mother, Omi (Krista Stadler), recounts her childhood encounter with Krampus decades ago in Bavaria is an eerie incursion of German Expressionist art within the film. While this fabulous animated interlude may sound out of place, over the course of the film Michael Dougherty and cinematographer Jules O’Loughlin use inky shadows and candlelight to transform the expansive beige-tastic suburban home. Taking advantage of the high-ceilinged angularity they create a claustrophobic and unsettling atmosphere once the blizzard encases the isolated and embattled family in a shroud of darkness as the power fails. Nosferatu would be right at home in this HOA.

    My criticism is primarily with how ham-fisted the depictions of the class divisions and gender stereotypes are early in the film, but I must admit that to me it feels more and more like an artifact of that precarious pre-Trump period in 2015 and less like a Hollywood shooting fish in a barrel with every passing year.

    I know I should name the actors who play the kids, but they’re right there on IMDB and honestly my anesthetic is wearing off and my jaw is starting to hurt so let’s stick a pin in that and I’ll do better with the rest of the posts in the series.

    That said, I want to conclude with acknowledgment of Conchata Ferrell’s critically under-appreciated performance. She sinks her teeth into the role of Aunt Dorothy, turning on a dime from insufferable to genuinely wounded, revealing herself to be a lonely woman whose barbs may be part of the defensive armor she’s developed (along with consumption of copious amounts of peppermint schnapps) to deal with Sarah and Tom’s classism. I’m not saying she’s an especially well-developed character, but she’s a nice addition to the cast.

  • Blair Witch Heritage Hike

    If you’re in the area and casting about for something to do the weekend before Halloween, this hike looks like it could be fun. I don’t have any additional details, just sharing. While it won’t be seen by more people than if I posted on the rapidly sinking twitter ship, at least I’ll be able to find the info later if I post it here. BLAIR WITCH HERITAGE HIKE NEARLY 25 YEARS AGO, TWO YOUNG FILMMAKERS MADE CINEMA HISTORY. "THE BLAIR WITCH PROIECT» WAS A WORLDWIDE SENSATION AND IS STILL ONE OF THE MOST PROFITABLE MOVIES IN HOLLYWOOD HISTORY. JOIN RANGER LEDBETTER TO LEARN HOW THIS HORROR CLASSIC CAME TO BE FILMED HERE IN MARYLAND AT SENECA CREEK STATE PARK AND VISIT ACTUAL SHOOTING LOCATIONS FROM THE FILM. HOSTED IN COOPERATION WITH BUTTON FARM LIVING HISTORY CENTER. OCTOBER 29 | 1 - 3 P M BUTTON FARM LIVING HISTORY CENTER 16820 BLACK ROCK RD GERMANTOWN, MD 20874 Do let me know if you go, I’m still (slowly) writing a comparative piece about Hollywood horror tourism in DC (Exorcist Steps), Point Pleasant (Mothman), and Burkittsville (Blair Witch). Sadly, although I had tickets, I wasn’t able to attend the recent outdoor screening of the Blair Witch Project – the first time the film has ever been shown in the town it made (in)famous.

    I know, I know. Regret weighs you down, life is short, look to the future, be toxically positive to manifest your destiny, you never know when you could die in the woods at the hands of an angry ghoul, blah blah blah.

    Still, I’m a little sad I missed that screening, everyone tells me it was great fun.

    Elizabeth Hand’s A Haunting on the Hill (2023)

    This is a spoiler-free lightly revised version of the brief review of Elizabeth Hand’s A Haunting on the Hill (2023) that I posted on Goodreads.

    Shirley Jackson’s The Haunting of Hill House is a beloved novel whose fans have opinions. Strong opinions. Having published one of the critical essays on Hill House in editor Kristopher Woofter’s Bram Stoker Award nominated essay collection Shirley Jackson: A Companion (2021), I also have strong opinions.

    One might even say I can be a huge ass about Hill House.

    Yes, one might say that.

    Nevertheless, I’m an Elizabeth Hand fan and I understood A Haunting on the Hill to be set in Jackson’s Hill House but not an attempt to retell the original story or rewrite the house’s history, so I think I was pretty open-minded going in – despite the fact that Hand’s premise puts a playwright and a bunch of actors in the house to workshop a new play.

    Okay, cards on the table. Having, in my youth – wrangled actors in allegedly haunted locations for a lot less money than the whole melodramatic experience was worth, I did have a couple reservations about the premise while waiting for my copy to arrive.

    I thought Hand did a nice job or incorporating a number of turns of phrase of details into the story that generally go unremarked on even by ardent Hill House fans, and I look forward to a careful reread and perhaps a conversation with Hand someday because I’m certain there are details gleaned from early drafts of Jackson’s novel that one would only know by sitting down at the Library of Congress and digging in to Shirley’s papers and that delights me, whether Hand did that work or merely channeled Shirley, the result is great fun. But honestly, it was the moment when we learned that Hand’s character Amanda drove a Morris Minor that fully opened my heart, as I can’t see one of those sleek little sports cars without thinking about how much Shirley Jackson loved her own Morris and what a terror she was reputed to be behind the wheel.

    (Without spoilers) there were a few elements I wish Hand had developed a bit more and I was tempted to give A Haunting on the Hill 4 stars. but the fact that I devoured it in a day and that (surprisingly early on) I quit picturing the characters as people I know and simply heard them as their own individual selves inclined me to push this up to 5 stars.

    A Haunting on the Hill stands on its own, and readers unacquainted with Jackson’s work or any of the fanciful film or television adaptations which stray from the source material but lend a certain familiarity to the story won’t have any trouble getting lost in this creepy house along with Hand’s cast of characters. I can see how fans of Jackson’s work may take umbrage with the conceit Hand offers, but I think it’s worth remembering that Jackson’s Hill House was a place seemingly with a will of its own. From my perspective, the most tantalizing descriptions of that power are offered to us from the perspectives of unreliable narrators and willful women pushing back against the constricting machinations of patriarchy and capitalism and heteronormativity. Hand operates in the same register as Jackson in this regard, and her Hill House is an engaging and alluring and repellent place well worth visiting this Halloween season.