Horror as Art: Five Essential Cinematic Masterpieces That I Love.

Cat People (Jacques Tourneur, 1942)

This cheapie psycho-sexual shocker by Jacques Tourneur, about Serbian immigrant Irena who believes that she has inherited a curse that will turn her into a cat if she is sexually aroused, is a film which shows very little in terms of explicit violence and sex, but is bathed in a swirling noir atmosphere and poses unsettling ambiguous questions about female sexuality. There are so many memorable moments to choose from, not least the strangely seductive, alarming sight of Simon Simone’s Irena, scratching the sofa to reveal claw marks. But the outstanding set piece still remains the siege in the swimming pool. A masterwork of psychological terror, the most astonishing thing about Tourneur’s direction is that the viewer doesn’t see anything. The best horror is never explicit, and the suggestive power of the scene lies in the judicious editing, ambient roars, and play of shadows on the wall: simple, effective, scary as hell.

Eyes Without A Face (Georges Franju, 1960)

Georges Franju gorgeous, visually stunning tale of scalpels, surgery and obsession is one of the most poetic horror movies that I have ever seen. This influential Gaelic-horror concerns Professor Genessier, a plastic surgeon who kidnaps young woman in order to find a suitable face transport for his disfigured daughter.  Aside from a few gruesome scenes of surgical gore, this isn’t a horror movie in the conventional, sensationalist sense, but rather a chilly, immaculately framed piece of gothic cinema. It is hard to think of a more startling image in horror cinema than Edith Scob’s pale eyes peering from behind a white mask, cutting a figure at once eerie and tragic. The film would found a modern echo in one of my cinematic highlights of last year, Pedro Almodover’s outrageously entertaining The Skin I Live In.

The Brood (David Cronenberg, 1979)

The Brood is the best of David Cronenberg’s early run of smart, gory body horrors in the 70s, following the brilliant bodily metaphors of Shivers and Rabid. A chilling paedophobic horror about the scariest children you’ll ever likely to meet, Oliver Reed stars as a mad doctor of psychoplasmic therapy who encourages his troubled patient Nola to manifest her inner depression as physical symptoms, with awry results. Featuring Cronenberg at his icky, gooey, cerebral best, and carrying on with themes of psychology, sex and the body in revolt, this tale about the progeny from hell features a few of the most terrifying set pieces of 70s horror, the most memorable being a horrific murder in a classroom filled with children. Cronenberg would go on to direct essential, bolder, and more refined work such as Videodrome, The Fly, and Dead Ringers, but The Brood remains one of his most visceral, intellectual horrors.

Tenebrae (Dario Argento, 1982)

Banned in Britain in the 1980’s under the notorious Video Nasties act, Dario Argento’s Tenebrae is splatter as art, a hyper-violent mystery thriller about a serial killer who is influenced by the lurid pulp novels of American writer Peter Neal. The film also poses as a sly, post-modern critique of the morality of the horror genre, and the label of misogyny that is constantly hurdled at the director. Argento’s meta-slasher is stunningly shot. Dubious dubbing aside, which is a given with Argento, this is a film of frankly, quite astonishing horror visuals, with the bare white walls, which frequently appear in the film, posited as a canvas for arterial sprays of blood worthy of Jackson Pollock. Tenebrae is a sly, staggeringly influential piece of Giallo cinema, from the beautifully staged murders that are composed with a painterly eye (see the astonishing tracking shot early on in the movie) to the blistering, avant-rock Goblin soundtrack. Along with the nightmarish acid fantasia of Suspiria, this is one of Argento’s most essential works.

Twin Peaks: Fire Walk With Me (David Lynch, 1992)

David Lynch is one of very few filmmakers who are able to conjure up images of such disturbing power that they penetrate into the darkest recesses of the mind, and stay there long after the scene dissolves. He is a difficult director to categorise in genre terms, with his work flitting between dreams and nightmares, reality and surreality. His most frightening and nightmarish work and the film that edges the closest to pure horror is also one of his most underrated. Dividing fans and critics on its initial release, Fire Walk With Me is both a prequel and final addendum to Lynch’s landmark television series. This is Lynch’s vision of the high school years as hell, getting to the troubled heart of Laura Palmer that is only merely hinted at it in the television series. Apart from a bizarre David Bowie cameo, it is a film of extraordinary images that crawl under the skin, and bludgeon you before the catharsis of the ending. Fire Walk With Me also features regular Lynch composer Angelo Badalamenti’s greatest work with a swirling, droning, jazz inflected score. Not easily forgotten, this is one of Lynch’s definitive works along with Eraserhead and Mulholland Drive, and Bob remains one of the most frightening characters ever committed to horror celluloid. 

A non-chronological, arbitrary list of the best cinematic things I’ve seen this year. (Subjective, of course)

A non-chronological, arbitrary list of the best things I’ve seen this year.

Kill List (Ben Wheatley, 2011)

This is the best horror movie of the decade so far, a visceral, lacerating genre-bending film which begins as domestic drama, merges into a hit man thriller before unexpectedly veering into outright Wicker Man territory. This is a startling, brutal and impressive piece of filmmaking that surprises and scares at every turn.

Drive (Nicolas Winding Refn, 2011)

With a career defining, icon-in-the-making performance from Ryan Gosling, gorgeous cinematography, and the best soundtrack of the year, Refn’s cool minimalist thriller was one of the film highlights of 2011. A cinematic exercise in style, form and genre, there might be little substance here beneath the shiny hood of Driver’s car, but it remains a taut, pulpy delight of movie, with wonderful supporting turns.

The Skin I Live In (Pedro Almodovar, 2011)

Sick and twisted fun from my favourite pop trash art-house maverick. This is essentially Almodovar tackling the horror genre on his own uncatergorisable terms. It is an oddball fable to say the least, a mad scientist thriller via melodrama, Hitchcock, and lashings of Cronenbergian body horror. Antonio Banderas is on terrific form as a manically deranged plastic surgeon, but the real breakout star is the radiant Elena Anaya who gives a fierce and devastating performance as his beautiful captive. The Skin I Live In shows a master in his prime, in control and firing on all cylinders.

Attack The Block (Joe Cornish, 2011)

This lovingly crafted homage to John Carpenter’s early icky genre cinema was a real breath of fresh air, a comedy horror set in the tower block environs of South London. This gooey alien invasion yarn has energy to spare and is shot with real panache by first time director Cornish. The snappy, street-level dialogue and social commentary felt authentic, and the action is funny and furious, moving at a steamroll pace. A terrific young cast, a genuinely moving and triumphant denouement, and a clanking, eerily banging soundtrack by Basement Jaxx make this a cult British classic in the making.

Super 8 (J.J Abrams, 2011)

This is the most fun I’ve had in the cinema all year, a sweet coming of age drama that also happens to be a monster movie. And it shows, because this definitely feels like a film of two distinct halves. J.J Abrams’ semi-autobiographical love letter to Spielberg and his own 70s childhood is definitely at its best in it’s opening movements. These early scenes are intimate and touching, showing a group of misfit friends hanging out, making films, bonded by their love of cinema while mourning dead parents, dealing with insecurities, and having crushes on girls. Following a spectacular, nerve-shattering train crash, the latter half is filled with much more generic thrills, and sadly, the final reveal of the monster is disappointing, But this is a minor gripe in a film with a big beating heart, and a wonderful set of performances from the ragtag group of kids. Super 8 envelopes you in a warm nostalgic hug.

Source Code (Duncan Jones, 2011)

Duncan Jones’ previous film Moon was a real stunner, a science fiction space-chamber piece with a magnificent performance from the criminally underrated Sam Rockwell. This second feature is not quite in the same league but remains a nifty clever sci-fi gem with an interesting central premise (think Inception meets Groundhog Day), a winning performance from Jake Gyllenhaal and taut, breakneck direction. And as long as you don’t examine the plot too closely (there are holes aplenty), this is still a smart, swift thrill ride.

Films still to watch in 2011

Melancholia, Hugo, Submarine, Bridesmaids, Tinker Tailor Soldier Spy, Rise Of The Planet Of The Apes, The Girl With The Dragon Tattoo, Tree Of Life, Take Shelter.

Looking forward to in 2012

Killer Joe, Prometheus, The Artist, Dark Shadows, The Dark Knight Rises, The Innkeepers, The Avengers, John Carter, The Bourne Legacy, Looper, Frankenweenie, The Hobbit: An Unexpected Journey, Django Unchained.

On Heavy Rotation: What I listened to in 2011

This is not a definitive best of list but here are a few songs which have been in constant rotation on my stereo in 2011.

White Denim – Drug

This is another deranged guitar workout from a brilliantly unpredictable band. I never know where these guys will venture next. The melding of rock and roll, folk, hillbilly, country, psychedelia, and jazz, with a complete disregard for traditional song structures is thrilling.

Clams Casino – All I Need

Stellar beat music from the best hip-hop producer of the moment. This is Endtroducing 2.0. The ambient snares, crashing drums and synth waves recall the genius of DJ Shadow in his prime. Astonishing stuff.

New Look – Nap on the Bow

This is the most convincing synthesis of indie and the r’n’b aesthetic I’ve heard all year. The skittering lo-fi electronic production shows a clear debt to the early noughties genius of Timbaland and the Neptunes.

Frank Ocean – Thinking About You

The best new artist of 2011. This guy can do no wrong, whether he is singing over an instrumental of The Eagles’ Hotel California (Sacrilege! I hear you cry) or crooning on this minimal r’n’b gem. The bat-shit crazy video is also worth checking out. Did David Lynch direct this thing?

Jamie XX & Gil Scott Heron – Running

Glitch hop, deconstructed dubstep, future garage, mutant 2-step. I’m not one for boxes. (Plus I really hate those genre names!) But whatever you call this, We’re New Here is one of my albums of the year. The incomparable vocal of Gil Scott Heron hovers like a ghostly siren call and haunts the empty spaces of Jamie XX’s bombastic production.

Cut Copy – Need You Now

Need You Now is a pristine slab of shimmering synth-pop melodrama from Australia’s answer to New Order. I love the way the song slowly builds till it is practically swelling with guitars and electronics. This is euphoria distilled in a pop song.

Friendly Fires – Hurting

The combination of Daft Punk + sunny boyband harmonies could be ghastly but actually proves pretty damn irresistible. The ear-worm hook of the year.

Kendrick Lemar - Fuck Your Ethnicity

The standout cut from Section 80, one of my favourite hip-hop albums of 2011. This is lyrically potent and possibly my favourite beat of the year. It’s been a mighty good year for underground hip-hop.

The Rapture - How Deep Is Your Love

I was lukewarm about their last album but The Rapture returned after a long gestation with this stunner. Their disco punk sound is re-energised with four to the floor beats, pounding house piano and saxophone blasts.

Kuedo – Visioning Shared Tomorrows

This beautiful Vangelis-esque aural dreamscape conjures up images of a wet, drizzly dystopia or a lonely Wall-E scouring a deserted planet for scraps. Surely a soundtrack to the new Blade Runner sequel?

The Horrors – Still Life

Sounds like the 80s. Also sounds very good in my car.

The Weeknd – The Morning

Prince would be proud of The Weeknd, who is singlehandedly bringing sexy, debauchery and weirdness back to r’n’b. The man is an enigma much like his druggy, hypnotic brand of nocturnal soul. The swirling ambience and echoing guitars on this track are mind-blowing. Brilliant video, too.

Rustie – Hover Traps

Rustie is one of the most imaginative producers out there. The album Glass Swords is a bonkers electronic odyssey, with prog guitars and synths that burble and dart around like Mario Kart gone rave. This is music from the outer-reaches.

Joe Goddard Feat Valentina - Gabrielle

Phenomenal vocal, phenomenal hook, phenomenal production. Did I mention I quite like this? Sick.

Beyonce – Countdown

No argument. Hands down. This is the best pop single of the year. It’s inventive too. Military time drums, surging horns, rushing piano keys, and arguably the best use of numerology in a pop song since The Jackson 5’s ABC. 

Other albums/songs on rotation in 2011

Drake – Take Care, Clint Martinez – Drive OST, Hudson Mohawke – Satin Panthers EP, James Blake – Self Titled, Wild Beasts – Smother, Azari & III – Into The Night (Single), Nicholas Jaar – Don’t Break My Love EP, SBTRKT – Self Titled, Arctic Monkeys – Suck It And See, The Antlers – Burst Apart, Zomby – Dedication, Jamie Woon – Night Air (Single), TUnE-yaRds – w h o k i l l, Lana Del Rey – Video Games EP, TV On The Radio – Nine Types Of Light, Jay Z and Kanye West – Watch The Throne, M83 – Midnight City (Single), Thundercat – The Golden Age Of The Apocalypse, Bangs and Works Volume 1 – Compilation, James Pants – Self Titled, AraabMuzik – Electronic Dreams, ASAP Rocky – LiveLoveA, Metronomy – The Look (Single), Toro Y Moi – Underneath The Pine, Young Montana - Limerence, Com Truise - Cathode Girls (Single), Hercules & Love Affair - My House (Single)