Behind the Couch

I recently wrote an essay on the 1981 Gothic slasher film Hell Night , exploring the influence of folklore and cautionary fairy tales on its narrative. Following in the wake of titles such as Halloween , Friday the 13th , Terror Train , My Bloody Valentine , The Prowler and Prom Night , Hell Night  was produced at the height of the 'Golden Age' of slasher films (1978 - 1984). While it strongly adheres to typical slasher conventions, it offers interesting variations with its eerie fairy tale subtext and social commentary on the dangers of rites of passage initiations and social indoctrination. If you're interested in reading more, my piece has been published in the latest issue of We Belong Dead and you can pick up a copy here . 

When a conservationist encroaches upon an old wood to study a species of invasive fungus, he invokes the wrath of the Hallow – a clan of “faeries, banshees and baby-stealers” – igniting a terrifying chain of events and plunging his family into a hellish nightmare. Written by Corin Hardy and Felipe Marino, and directed by Hardy, The Hallow is a mean, moody, thoughtful creature-feature with strong elements of folk, eco and body horror. In the grand tradition of folk and fairy stories, Hardy’s film warns of the dangers of trespassing in places we have no business being, as well as offering commentary on the importance of protecting the environment and respecting the myriad other species – known and unknown – which co-habit this planet with us. Hardy and Marino’s screenplay eases us into the story, establishing the characters and spending time with them, thus ensuring later, horrific events are reinforced by a strong emotional core and skyward-rocketing tension. Adam (Joseph Mawle) and Cl...

A motley crew of construction workers, led by a constantly squabbling father and son, unearth an ancient vampire when they demolish a stone cairn to make way for a new road on the outskirts of their sleepy, rural village. Written and directed by Chris Baugh, and co-written by Brendan Mullin, Boys from County Hell is as riotously funny as it is taut, grisly and atmospheric. Its use of an obscure Irish legend about a vampire provides it with a strange, unique feel, and Baugh and co. subvert typical tropes associated with the vampire, creating some fascinating lore of their own.  While the figure of the vampire is not as prominent in Irish myths and folklore as it is in the folktales of eastern Europe, there are still a few fascinating instances – such as the Dearg-due (which can be translated as ‘red thirst’ or ‘bloodthirsty’) of Waterford, and the Marbh Bhéo (the 'night-walking dead'). It’s also interesting to note that two of the earliest and most influential vampire novels wer...