Transgressive Cinema on Exquisite Terror.

I have recently been pleased to contribute to an exciting new horror project called Exquisite Terror. This is the brainchild of Naila Scargill, someone who has strong links to the UK horror and publishing scenes and I urge all readers of Transgressive Cinema to check out the good work going on over there.

To get you started, here are my offerings to Exquisite Terror so far:


This debut fea­ture from Bel­gian writer and dir­ector Ben­jamin Viré fol­lows in the foot­steps of the recent Mex­ican We Are What We Are by tak­ing the can­ni­bal sub­genre and exor­cising its leg­acy — which is rooted in 1970s Italian gore films such as Can­ni­bal Holo­caust. Can­ni­bal rejects the degen­er­ate tone of these early works and con­trasts the vis­ceral nature of humankind’s old­est taboo with styl­ish film­mak­ing and an absorb­ing storyline.


Continue reading at Exquisite Terror:


The Rig

This film opens to imme­di­ately estab­lish two points. Firstly, drilling for oil on the seabed has unleashed a strange and aggress­ive creature. Second, a severe storm is immin­ent and the oil rig is being evac­u­ated of all non-essential staff. Thus, prom­isingly, a threat has been defined and placed in an isol­ated envir­on­ment with a group of likely vic­tims. Sadly, The Rig fails to cap­it­al­ise on any ini­tial poten­tial and becomes more tedi­ous with every drag­ging minute of screen time.


Continue reading at Exquisite Terror:


Evil Things

Like foot­ball, Evil Things is a work of two halves. The first half main­tains its sim­il­ar­ity to soc­cer by being quite dull and pop­u­lated by char­ac­ters devoid of per­son­al­ity. The second is well set up and executed, with genu­ine scares.

A group of col­lege kids are driv­ing through a New York State snowstorm to cel­eb­rate a birth­day at a vacated, and remote, fam­ily home. En route they are har­assed and stalked by a black van, the driver of which is never seen. These sequences would have been more effect­ive had they not been pla­gi­ar­ised from Spielberg’s Duel. Arriv­ing at their des­tin­a­tion, the run-in is largely for­got­ten in lieu of get­ting the fire lit and start­ing to drink. For­tu­nately writer and dir­ector Dominic Perez avoids the clichéd frat-house antics that typ­ic­ally ensue, and the film is bet­ter for it.

Continue reading at Exquisite Terror:

Transgressive Cinema will continue as normal, and I will keep you updated with any writing I may do elsewhere in the future.


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