Horror Directors: Jordan Peele
A big part of what got us set on the "horror directors" theme for our film series was wanting to rewatch Peele's first two movies in preparation for NOPE, which was the cinematic event of the summer. So we did! Let's do a quick recap of GET OUT and US, and then I'll follow up with some thoughts on NOPE.
This post will be spoiler-free.
Jordan Peele's background is comedy, having started out on Mad TV doing sketch comedy in the early 2000s, then joining with Keegan-Michael Key to do Key & Peele on Comedy Central, and a bunch of other miscellaneous TV projects. But his directorial debut was a horror film you've undoubtedly heard about by now....
Get Out (2017) was a critical darling, helping to usher in what at the time seemed like an inevitable golden age of horror. It was nominated for four awards, and Peele became the first Black person to win Best Original Screenplay. There was a fair bit of controversy surrounding it, too, which I think ultimately helped to propel Peele's career more than hinder it.
If you somehow managed to miss this movie, or just need a refresher: The film centers on a young Black man going to visit his white girlfriend's upper-middle-class parents for the first time. His anxieties about that meeting turn out to be more than justified when he arrives to discover some...ah...very unsettling things.
I won't spoil it in case you somehow have managed to never see it, because it's a delightful romp of a film. It's also painfully uncomfortable to watch, not just for the horror elements but because of the second-hand embarrassment of seeing people say agonizingly inappropriate things to one another.
Us (2018) came out right on the heels of Get Out and I think everyone was very eager to see what he'd come up with next. This one was not as universally loved, and in my opinion the plot suffers a little bit from some logical problems, but it is visually stunning and genuinely terrifying.
This one's plotline, in brief: a family's summer vacation to the mom's childhood town is horrifying interrupted by the arrival of dopplegangers who perfectly mirror their family...and who might have a personal axe to grind (or scissors, as the case may be).
Nope (2022) is Peele's third film (he didn't direct the Candyman reboot, that was Nia DeCosta). This one is about a family of horse trainers who work in the movies, and the unusual events that befall their ranch when an otherworldly visitor apparently takes an interest in them.
The less you know about this one going into it, I think, the more fun you'll have.
For my money, NOPE was a very solid film, and one I'm enjoying more the more I think back on it. I want to see it again in theaters, maybe in IMAX. I think it's the kind of movie that gets better with multiple watch-throughs.
Which, in general, I think is true for all of Peele's films.
I really do enjoy his work as a filmmaker. I think sometimes his movies can be a little ambitious and overwrought, but I deeply appreciate that he makes original work with depth and layers and themes and that he's not shy about making those themes accessible. His movies are smart, but they're not pretentious at all, and if you put in a tiny amount of work in parsing them, you'll be rewarded.
As a writer, I also have a TON of respect for how tight his storytelling is. Especially in NOPE, where everything ties together with so much more consistency than you see at first blush. And as a director, he manages to squeeze so much visual information into every scene that there are always little easter eggs to discover later.
Anyway, I love what that dude's doing with movies, and I love that somebody's out here making original, thoughtful horror that's doing something different, and that he's so gosh-darn good at it. Keep doing your think, Peele, and I'll keep chucking my money at you.
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So I was asked to do a portrait today at this art course i've been attending and the first person I could think to draw was David Lynch for whatever reason, I was originally gonna upload the drawing just as it was but I thought it'd be better to pretty it up a little first, h.
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Eli Roth
Horror director series continues with an infamous entry!
Eli Roth is a name closely associated with shaping modern horror. I feel like he and M. Night Shyamalan really picked up the mantle of horror directors in the early 2000s, shaping the genre of the time (for better or worse) and both being simultaneously kind of respected and derided. He also joins contemporaries like Alexandre Aja and James Wan in the so-called "splat pack" of horror directors -- filmmakers who make bloody gory splatter movies.
I've heard conflicting information about what kind of person he is -- some folks say he's a sweetheart, some that he's a douchey bro -- so take that with a grain of salt. I will say that his films do have a tendency to lean into a certain...early 2000s edgelord douchebro aesthetic, and that he also seems genuinely knowledgeable and enthusiastic about the genre and its history. So.
But let's talk about a couple of his films, shall we?
Cabin Fever (2002) is a horror comedy about a group of teenagers(?) who go to a cabin in the woods to party but are exposed to a flesh-eating disease and begin to turn on each other in paranoia.
The film was Roth's directorial debut, and he also wrote the script. His original vision was pure horror, but the market in the early 2000s wouldn't bear a straightforward original horror script so he added comedy elements. And oh boy. Oh boy. We were in a weird fucking place in the early 2000s.
This movie is such a time capsule of some of the worst parts of youth culture at that time. I also cannot quite shake the impression that this movie is about homophobia, despite that not really being part of the text. Like, yes, some things are called "gay" in a perjorative sense the way a lot of obnoxious teenagers called things "gay" in 2002. But it goes deeper than that. It's a film about infection (and the cruelty men are willing to exert on the afflicted in the name of avoiding contamination). It's presumably about hooking up with women, but every sexual interaction is either painfully awkward or horrifying. Pretty much every friendly interaction between men has an implied "no homo" attached. Feelings are gay. Toxic masculinity is the only route (even when it repeatedly makes things worse).
Just. Hm. I don't know to what extent any of this is intentional. But it's Something.
(This film is also ridiculous and you have to be willing to suspend disbelief and approach it as a comedy operating on comedy logic more than a horror film. Otherwise by the time you get to the ridiculous animatronic deer legs waving around through a car windshield, you won't be howling with laughter, and that's a real shame.)
The Green Inferno (2013) is about a group of well-meaning but naive college activists who fly down to South America for a filmed protest stunt to save the rainforest...only to run afoul of an isolated pack of cannibals.
This film is an obvious and overt homage to Cannibal Holocaust and other mondo horror of the 1970s. And if an underlying theme of Cabin Fever is "feelings are gay," then most assuredly a theme of this movie is, "caring about things is stupid."
The tribe depicted in the movie is fictional and highly stylized. When faced with criticism over his portrayal of the tribe members as savages, Roth said:
"The idea that a fictional movie about a fictional tribe could somehow hurt indigenous people when gas companies are tearing these villages apart on a daily basis is simply absurd. These companies don't need an excuse—they have one—the natural resources in the ground. They can window-dress things however they like, but nobody will destroy a village because they didn't like a character in a movie, they'll do it because they want to get rich by draining what's under the village. The fear that somehow a movie would give them ammunition to destroy a tribe all sounds like misdirected anger and frustration that the corporations are the ones controlling the fates of these uncontacted tribes."
He's not wrong, precisely, and I think this -- taken in context with a similar-but-different situation in Hostel (my favorite Roth film) paints am image of what kind of filmmaker he is and what he cares about. I think he's the kind of person who can accurately see injustices in the world and then takes it upon himself to reveal them in ways that may or may not be a little exploitative, sensationalist, and clumsy but ultimately well-meaning?
Personally, my biggest beef with this movie is how completely random and nonsensical the cannibal behavior is. Like, I get that their intentions are meant to be inscrutable as a hitherto undiscovered tribe with no contact with white people. But they just do weird shit for the sake of doing weird shit. Like, they kill and cook multiple people in the course of this film, and their culinary technique leaves a lot to be desired. They slaughter people inefficiently, don't clean the carcasses properly, undercook the meat, spend a lot of time rubbing colored mud/spice blend(?) on people's clothing (???) and have some kind of apparent obsession with a character's virginity? It's very all over the place and honestly, in my mind. felt pretty silly.
For my money, I say watch Hostel instead. I review it elsewhere on my blog (just search my tags for Hostel) and I think it's a finer film that touches on some similar ideas re: white folks keeping their nose out of places it doesn't belong.
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[AI Clavell has initiated battle.]
An au based on @derpyfangirl AI Clavell AU and @k-chips art, where Clavell sticks around in Area Zero on behalf of the profs. Unfortunately the -raidon incident happens, and AI Clavell is unaware of the Paradise Protection Protocol the profs have placed. AKA, they’re watching the artificial replica of their friend be warped by a system of their own design I guess.
I wanted to play around with animating bits of the comic lol. Good fun! More horror vibes.
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