All tagged horror comedy
The ham-fistedness of Ready or Not fits the carefully-crafted and well-paced balance of quippy, campy, self-aware pulp horror/comedy. The film doesn’t waste a single moment of screen time and pays close attention to the arcs of its three main characters through the deconstruction of Grace's wedding dress as she finds herself hunted in The Most Dangerous Game: Satanic Mansion Edition.
While not technically an adaptation or a remake, Get Out re-envisions The Stepford Wives--both the 1972 novel and the 1975 film--in what you could call a remake in spirit. (Oh, and it rightly ignores the 2004 atrocity.)
Forbes’ film and Levin’s novel dealt with feminist themes of gender power dynamics, ownership of female bodies, and the objectification of women. Get Out builds on how those issues intersect with racial power dynamics, ownership of Black bodies, and racist ideas of Black people as animals.
But Peele’s up to more than just swapping Women’s Liberation for Black Emancipation. He gives us a more hopeful film, lighter and funnier than The Stepford Wives, but at the same time heavier and more horrifying.
A list of some of our favorite metahorror classics and modern gems. Not an exhaustive list, of course, but a good starting point if you need more metahorror in your life.
Rallying against many clichés that seemed built into the slasher genre at the time of its making, Cabin in the Woods was not only a rebuke of what the horror genre had become, but also a celebration of what it could be.
More than a quippy teen slasher brimming with meta-humor, Cabin is a teen slasher about making teen slashers. Leaning into filmmaking allegory and industry clichés, the film argues that the recycling of old ideas from the masters was unsustainable, that we needed to burn down the work of the Ancient Ones so that something new could rise from the ashes.
Let’s talk about the 1996 meta-horror mega-hit film Scream and how it’s meaning has changed post #metoo, now offering a critique of domineering misogyny and gaslighting, reflected in the film’s use of Nick Cave and the Bad Seeds’ creepy, mysterious, broody, and catchy-as-hell “Red Right Hand.”
