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Its flexibility extends as far back as the monstrous love story in Bride of Frankenstein (1935) and as current as the blood-drenched melodrama of Malignant.īut how do you know if you’re watching a horror movie when there’s no killer or monster, exorcism or blood? It’s a decades-old question that’s being asked about new films that blur the line between a movie with horror and a horror movie.Īmong them are The Humans, Stephen Karam’s darkly comic family drama set during a Thanksgiving dinner The Lost Daughter, Maggie Gyllenhaal’s forthcoming eerie character study of a college professor at a Greek resort who becomes obsessed with a fellow vacationer and her daughter and perhaps unexpectedly, Spencer, Pablo Larraín’s speculative, dream-logic psychodrama about Princess Diana. It lifts from and melds with just about every type of cinema: comedy, sci-fi, action, romance, fantasy, documentary.
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Horror has always been an elastic and regenerative genre. It just goes to show, horror is what scares you, not me. Twitter being Twitter, some of the responses were flip, like It’s a Wonderful Life and Cats. But there were also heavy hitters like 2001: A Space Odyssey and Parasite. Children’s films, including Pinocchio and Bambi, made the cut. A few days before Halloween, the Twitter account put out a call: “What movie isn’t technically a horror movie but feels like a horror movie to you?” Included was a photo of a freaky-eyed Gene Wilder in “Willy Wonka & the Chocolate Factory.”