Thoughts I Had... While Watching the "Interstellar" Teaser

Presented in the order I had them without self-censorship... you do the same in the comments!

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Three Christmas Movies for Friday the 13th

Anne Marie here to spread some holiday scares. Friday the 13th has crept up on us again, bringing joy to thousands of horror fans. If you're a Christmas lover, then these three movies should scratch that holiday horror movie itch. And if you hate the holiday season, then that's all the more reason to watch an evil naked Santa go on a murder spree. 

Black Christmas (1976) - This is considered a slasher classic alongside its more famous calendar-themed cousin, Halloween. Black Christmas follows a group of sorority sisters in what I swear must be Canada as a deranged unseen killer picks them off one by one. The cast alone is worth the watch: Olivia Hussey six years after Romeo & Juliet, Margot Kidder two years before Superman, and Andrea Martin twenty six years before she fondled John Corbett's hair and offered him lamb in My Big Fat Greek Wedding. While the kills themselves are relatively tame by today's ridiculously gory standards, the true chills in the film come from the babbling and screaming phone calls the killer makes to the sorority house every time he claims a new victim.I should point out that Black Christmas was remade in 2006. However, I'm hoping that a Christmas miracle will happen and the remake will be vanish, never to be seen again.

Gremlins (1984) - The Gremlins are proof that giving your kid a pet for Christmas can be a very, very bad idea. This 80's classic strikes a very difficult balance. On the one hand, it is adorable, as when the fluffy mogwai Gizmo drives a toy car around a department store for the last third of the film. On the other hand, it can be downright violent, as when the gremlins murder a neighbor by causing her stairlift to fling her out a window. Overall, the flim tends to err on the side of campy humor: Gremlins get drunk, breakdance, and mostly act like tiny, lizard-like bros at a frat party. This mischief and mayhem make Gremlins the most light-hearted movie on this list. Fun trivia: Gremlins is actually responsible (along with Indiana Jones and the Temple of Doom) for the creation of the PG-13 rating. Apparently the MPAA agreed that mogwais were too cute for an R rating but too bloody for a PG one instead.

Rare Exports: A Christmas Story (2010) - "He sees you when you're sleeping. He knows when you're awake. He knows when you've been bad or good. And he doesn't give a ****!" Finnish horror movies have a strange sense of humor. In Rare Exports, an archaeological dig uncovers an old man with a long white beard frozen in stasis. When he awakens, he immediately starts kidnapping children and hauling them away in potato sacks. For this monster is only the helper to Santa Claus. The true Father Christmas is far, far worse. This movie gets serious points for being one of the most bizarre reinterpretations of the Santa Claus mythos. On top of that, it's an engaging, funny, scary movie. I promise you'll never look at mall Santas the same way again.

 What scary ghost stories do you save for the holidays? Post your Friday the 13th suggestions below. Merry Christmas to all, and to all a good fright

FYC: The Conjuring for Best Sound Editing

We're looking at our favorite fringe awards contenders just to widen the conversation. Here's Tim Brayton on the year's biggest horror hit.

Since as far back as the thudding echo of footsteps that stalked Jane Randolph in 1942's Cat People, savvy horror directors have understood that one of the surest ways to wring the audience into a terrified frenzy isn't to wage a frontal assault on our sense of taste with gallons of stage blood and pig organs, but to instead mount a side attack on our ears. Some of the scariest movies of all time have gotten that way above all because of their skillful use of sound effects, and the sound editing in director James Wan's terrific The Conjuring - led by supervisor Joe Dzuban - is so hugely important that it was even foregrounded in the film's outstanding teaser trailer. Anybody can show a ghost jump out of the darkness to give you a quick, cheap freak out. It takes genius to get the same jolt from of the well-applied use of harsh, distant clapping.

And if that's the only thing that The Conjuring had to recommend its audio landscape, we could stop right there - a terrific setpiece is fine, but not the stuff that year-end recognition is made of. But while the Clapping from Hell is easily the *showiest* aspect of the film's soundtrack, it's not at all the most important. For that, we might sooner listen to the frequent near-silence that penetrates the story's central haunted hause: to create the idea of a place that hums with danger and malevolence, the sound team literally built in humming, a deep vibration in the bass that frequently crops up just to mess with our perception. And then, there's the hard flatness of the "normal" sounds, which land on the ears with a sort of shrill hollowness. The sound contributes significantly to the feeling that this house where so much of the film's terror occurs is a dead, suffocating place.

In all great horror, the effect on the viewer isn't just created by the big gestures, but by a backdrop which permits those gestures to hit with the most impact. That describes the distorted sound of The Conjuring to a T: unrealistic and vivid and deeply unsettling. This horror hit is not dignified enough to attract trophies, but the craft, and the glorious way it knocks the viewer around, is as impressive and effective as anything with more overt artistic aspirations.

previous FYCs
Actor Tye Sheridan | Editing Stories We Tell | Screenplay In a World... | Supporting Actor Keith Stanfield | Song The Great Gatsby | Score Nebraska | Costume Design Lawrence Anyways | Foreign Film Neighboring Sounds | Supporting Actress Cameron Diaz | Picture The Spectacular Now | Make-Up Warm Bodies | Sound Mixing World War Z | Director Edgar Wright | Production Design The Conjuring | Supporting Actor Ulysses the Cat

Team FYC: The Conjuring for Best Production Design

In this FYC series series, our contributors are highlighting their favorite fringe contenders this awards season. Here's Dancin' Dan on The Conjuring...

Let's face it: The Academy doesn't, as a rule, like horror films. Even when they're done well. But James Wan's The Conjuring is one we hope they'll honor, especially in the below-the-line categories. The technical elements are all exceptionally well-done, but the production design in particular is damn near flawless. For starters, take a look at that Annabelle doll. Creepy, right? But also totally believable as a toy that a girl might have loved as a child in the 40s or 50s and kept with her as a young adult in the 60s.

The whole film is stuffed with smart design like that. Production Designer Julie Berghoff, Art Director Geoffrey S. Grimsman, and Set Decorator Sophie Neufdorfer built the Perron house used in the film from the ground up and filled it with period-appropriate appliances, photos, and toys that felt used and loved - and, perhaps most importantly, that don't look "scary".

The smartest thing The Conjuring does is to not look like a modern horror movie - all dark and tinted blue or gray, with every set and prop looking like it's on the verge of decay. The Perron house looks old because, simply, it's an old house, and the Perrons bought it knowing it was a bit of a fixer-upper. The items in the basement look old and rotting because they've been blocked off for decades. The family's personal items look new, or at least new-ish, as would fit a middle-class family in 1971. The attention to period detail is all over the movie, and it gives the movie a homespun quality that always works in its favor.

There are a lot of reasons why The Conjuring works as well as it does: strong, surprisingly nuanced performances from Vera Farmiga, Patrick Wilson, and Lili Taylor; the genuinely unsettling score; the almost old-fashioned cinematography - but for me the MVP is all the little details around the edges of the frame, constantly lending a sense of reality to the film. The art direction of The Conjuring is effectively scary when it needs to be (the spiral mirror reflecting on Vera Farmiga's face, that monstrous wardrobe, the Warrens' room of occult objects), but mostly it serves to remind you that these were real people this happened to - a family that could have had a normal life if things had just worked out a little differently. And that's where the true horror lies.

Team FYC: Edgar Wright for Best Director

Wright's Feature Filmography: Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. the World, and The World's EndIn this series Team Experience sounds off (individually) on their favorite fringe awards contenders. Here's Michael Cusumano on Edgar Wright

Four features into his career it is clear that Edgar Wright is building a body of work that will end up ranking with the greats of film comedy. It is time the Academy recognizes this fact (and their aversion to comedy) and honors The World’s End, his best film to date, with a nomination for Best Director. 

Stop and consider everything Wright's latest film accomplishes, all while staying as light and zippy as classic screwball by the likes of Hawks or Sturges. The World’s End is simultaneously a genre spoof, a farce, a biting social satire, a character study, and a moving comedy about middle-aged friendship. And above all else it’s funny. Wright keeps the pace jumping throughout and unlike other directors he never sacrifices the integrity of the material for a gag.

If the fact that Wright deserves it on the merits isn’t enough to sway voters how about nominating him because of the message it sends about the state of comedy in 2013. Look at the top box office comedy hits for the year. It’s an embarrassment. Identity Thief, Hangover, Grown Ups. Even the few bright spots like The Heat or This is the End still exhibit a “Who cares?” attitude about visuals and screenplay structure and are content to lean on the charisma of the stars and coast on the fundamentals. 

Edgar Wright, on the other hand, holds his film to a standard as high as any prestige Oscar bait and he is in control of every element of every frame of this baby. Everyone is rowing in the same direction on The World’s End, from the quicksilver editing to the witty production design to the cast, including stars Simon Pegg and Nick Frost whom Wright guides to career-best performances. That is the stuff of which Best Director nominations should be made.

previous fycs