URHorror Newsletter: Week of 10.12

Halloween gateway horror, Haunted House FearFest Film Festival, and believing DGG's The Exorcist: Believer

My lovely horror fiends. How are we this week? Have you started on your October watchlist/reading list? I’d love to hear all about it.

We are two weeks into October, and I can only hope your spooky festivities have begun (if not in September lol). One of my favorite parts of October is reliving childhood memories through film. It’s such a nostalgic time, and many movies that find their way to my Halloween watchlist are ones that transformed my childhood.

Gateway horror is the gateway drug for horror kids. They’re movies that aren’t considered horror “officially”, but the elements are there. One of my all-time favorites is Monster House (2006).

It was terrifying as a kid and left me wanting more. And now, my favorite horror movie is French, cannibalistic, and queer hahah. If you’re wanting more about gateway horror and movies for your own Halloween watchlist, make sure to listen last week’s podcast episode!

Listen Here

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Horror News

Haunted House FearFest Film Festival

You may remember my interview with festival owner and executive director Renee Huff from September! Her film festival was set to take place Oct 6-7th and I gratefull accepted an invite to attend. Renee knows how to fill a room with light and warmth. Her dedication to the event was evident in every piece of the show.

Friday, October 6th, was opening night and featured a video game preview, four horror shorts, and the feature horror comedy eVil Sublet, directed by Allan Piper and featuring Sally Struthers.

Saturday, October 7th, was the matinee and awards night! Though I couldn’t make it out for the matinee, the awards night has a few short showings as well. Each selection was carefully curated and intentional with Renee’s mission to bring more underrepresented filmmakers, writers, and video game artists to the forefront. Before the night ended, I got the chance to interview the women behind the paranormal show History’s Most Haunted.

Credit: Blue Ant Media

I know the festival is just going to grow from here. I can’t wait to attend next year, and hope to see some of you as well!

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It’s Not That Deep…

But it always is…. isn’t it? This week’s movie of discussion is Blumhouse’s newest film: The Exorcist: Believer. I started to see negative reviews for it about three days before it’s official theatrical release: October 6, 2023. While it’s initial release was set for Friday the 13th, we can thank Taylor Swift for getting the film to us earlier!

I’m not one to let reviews, particularly Rotten Tomatoes, affect my viewing experience. One reason I am where I’m at is because of the lack of Black, queer, and female voices in the horror critic/journalism space. So, after seeing the film, it caused me to raise a brow at the massive (and deeply unserious) hate this film is receiving.

For context, here are some reviews:

Those are only two Rotten Tomatoes reviews which I searched the first five pages for: all white critics. This is an important detail. The story that director David Gordon Green brings to us is centered around a Black, single father who lost his wife during the birth of their daughter. The daughter and her best friends trying to contact her deceased mother which opens the gates to the conflict and hell. The religion of this movie is only partially focused on Catholicism: we also see Southern Baptism, Pentecostalism, and Hoodoo/Rootwork.

Credit: Universal Pictures

Euro-centric religions have always been placed superiorly to Black spirituality/religion. So, the fact that it played such a role in how the film developed, I admired it. Now, I’m not saying that the critics who review this poorly are doing so with racial motivations. I more so believe they just don’t have kind of perception to understand the sentiments of the Black story within DGG’s sequel. The portrayal of the beauty in Hoodoo/Rootwork in this is really what drew my attention. Considering a majority of horror’s uses for Black religion has contributed to the negative stereotypes we’ve seen, it shouldn’t be ignored in the conversation.

One reason I’ve never really flocked to demonic possession horror is the regurgitated storylines centering Catholicism. When The Exorcist released in 1973, it set a precedent and it sparked controversy. I think it’s unrealistic to expect that same energy from a film in 2023. There were several reasons why the original was grotesque and obscene: one being the crucifix/vulva moment. It’s a film with an immense cultural impact, which I appreciate, but I never really cared for it the way others do. I think that’s what’s fueling the initial hatred for it. Vox journalist, Alissa Wilkinson, offered great observations regarding the way this film speaks to change of our culture since 1973

See ya next time!

Until the next newsletter, let me know your thoughts on this one! Next week’s episode will cover two Halloween films currently on my 31 Days of UrHorror Halloween list. If you need inspo for a movie marathon, head over to Letterboxd!