THE FUTURE OF HORROR
By Patrick Green

A well-known horror auteur once predicted that the horror genre was in its death throes. This was back in the eighties, and now horror is bigger than ever in terms of box office and media exposure. Of course, cynics could argue that this horror heavyweight was in essence, correct in terms of originality.

Within its boundaries, that which we call horror is cyclical. Ghost stories replace space monster sagas, which replace slasher flicks, which replace demonic possession pictures, and on and on. All the while, none of these particular sub-genres disappears outright, only falls back to the DTV route, waiting for some maverick filmmaker or concept to rocket it back to the forefront.

Currently, the cinemascape is awash with re-makes and imitations, mostly of either Japanese ghost yarns, or of the “torture/extreme/survival” horror trend that can be said to have originated with “The Texas Chainsaw Massacre.” With the prequel to the re-make of that film currently in theatres, and various sequels to its imitators poised for release, it’s only a matter of time till the genre shifts again.

Most video rental stores are experiencing a surplus of zombie flicks, even as every possible variation and unauthorized re-tread of George Romero’s source material is being thrust into the production pipeline. It can’t last.

In the nineties under a democratic presidency, lighter scarefare like “I
Know What You Did Last Summer” made the rounds, and yes, filled the cineplex seats. The more hardcore films that are hits now are theorized to be a reaction to the oppressiveness of a Republican regime. Since things are starting to look kind of bleak for those guys, it may also signal a new wave in horror.

So what’s next, then? One can only conjecture. This past summer brought us
“Monster House”, a children’s flick that nonetheless demonstrated the potential of mixing animation and scares. CGI inserted into a live action film has become a point of annoyance among many genre fans, but an all-CGI horror feature could be a different story. In that context, there is no jarring juxtaposition to throw one’s suspension of disbelief. There’s much more room for fantasy elements, a refreshing break from the played-out ultra-violence of the torture trend. Of course, that’s not to say said animation couldn’t have a good healthy dose of grue to keep the gorehounds
happy.

Werewolves seem to be making a comeback, thanks to the Underworld flicks and
the upcoming “Big Bad Wolf”. (We won’t talk about “Cursed”.) The last big glut of lycanthrope epics came in the eighties with “The Howling”, “Wolfen”, and “Silver Bullet” so it’s not inconceivable that the hairy brutes could be up for a return engagement.

With “Creepshow 3” on the horizon, a new wave of anthology flicks could be in the making. Personally, I’ve always loved these sick little bite-sized treats that come wrapped in their own grisly bookend segments. Far too many features are made from ideas that would be better served by a much shorter length. These chill-packed omnibuses usually dip into several subgenres to provide a little something for everyone.

But is there anything truly original to offer the genre, rather than just revivals and cross-pollenizations? This brings us to the period piece. Studio suits have a general belief that no one is interested in films set in a time before they were born. A mystifying policy, and one that doesn’t seem applicable, considering the all-important sense of isolation that can be put to good use with say, a frontier setting.

Ultimately, the next big thing, the spark that will light the fire of horror’s future and redefine our ideas of what’s scary, is still a mystery, like a well-crafted giallo.
Open wide the floodgates –er, uh bloodgates, for the next big thing.

Read all of Patrick Green’s articles and reviews at Grave Misgivings