Behind the Couch

'Snow, Glass, Apples' by Julie Dillon With filmmakers like Catherine Hardwicke directing modernised fairy tales for teen horror audiences, it is safe to assume that more will soon follow – think of what Twilight did for romanticising vampires and making them appealing to teen audiences. Love it or loathe it, its influence on popular culture is undeniable. Fans of Twilight no doubt flocked to Hardwicke’s latest offering. A number of Hollywood horror-tinged adaptations of fairy tales are actually already in the works. Amongst them is the Julia Roberts starring Mirror Mirror , with Roberts tipped to play the Evil Queen. Directed by Tarsem Singh ( The Cell ), the film is a dark twist on the classic fairy tale, in which Snow White and the seven dwarfs look to reclaim their destroyed kingdom. Another film that refigures the tale of Snow White, with Snow White leading the charge into battle, is Snow White and the Huntsman , starring Kristen Stewart as Snow White, and Chris Hem...

With its central image of a young woman being stalked and menaced through a dark and foreboding forest by a sly and slathering beast, Red Riding Hood has always had its roots firmly planted in horror. Later literary adaptations of the folk story, by the likes of Charles Perrault and the Brothers Grimm, demonstrate a harsh conservative morality akin to many horror films (particularly certain 80s slasher films) warning of what happens to young people who ‘stray from the path’ and let their curiosity get the better of them. It is essentially a dark tale about rite of passage and crossing the threshold from childhood to adulthood. The forest, a place used time and again in literature and cinema to represent a place of hidden danger, primal fear and dark threat (but also, interestingly, freedom from the restraint and pressures of conservative society) serves as the suitable backdrop; a place that is as far removed from civilisation as possible. What further embeds the tale in horror is...

Throughout the years many filmmakers have adapted various versions of Little Red Riding Hood for cinema, most to investigate or exploit its coming of age subtext. In the early Eighties Irish filmmaker Neil Jordan collaborated with English writer and novelist Angela Carter on an adaptation of her book 'The Bloody Chamber.' 'The Bloody Chamber' is a collection of fairy tales, including Little Red Riding Hood, which Carter had reworked, reinterpreted and filtered through a 20th Century feminist viewpoint to give them a fresh and provocative perspective. Their resulting collaboration was 1984’s strikingly beautiful and dreamlike The Company of Wolves , a film that unfurls as the fever-dream of a young woman experiencing menstruation for the first time. Boasting a narrative of stories within stories and dreams within dreams, The Company of Wolves retains its haunting power even now, with its rich and intoxicating atmospherics. Angela Lansbury starred as the Grandmother w...

"The Company of Wolves II" by Olukemi With Snow White and the Huntsman galloping onto screens in the wake of, and from the same gothic fairy tale stable as Catherine Hardwicke’s Red Riding Hood , and Tarsem Singh’s Mirror Mirror to follow soon after, it looks like fairy tale adaptations are trending at the moment. They’re certainly not a new thing; fairy tales have often provided the basis for films throughout cinema history – either directly or loosely. I thought it might be interesting throughout the course of December to have a look at one of the most recognisable and enduring of these tales – Little Red Riding Hood. The tale of Little Red Riding Hood is centuries old. Most people will be familiar with it thanks to growing up with the likes of the slightly diluted version by the Brothers Grimm, in which a young girl and her grandmother are rescued from the belly of a ravenous wolf by a chivalrous woodsman. Earlier versions of the tale were much darker, and bleaker....

2011 Dir. Lucky McKee Social satire or torture-porn movie? Misogynistic trash or an examination of fundamentalist attitudes towards women? Feminist wish-fulfilment or objectifying glorification of violence? These are the kinds of questions that are being asked about  The Woman  and its gruelling rape-revenge story. Whether the film is viewed as a powerful portrait of misogyny, a thoughtful 'torture-porn' flick or simply a brutal and nasty gore-fest - The Woman proves to be an uncompromising and memorable ordeal. More a film to be endured than enjoyed, it has left audiences and critics divided and immersed in deep debate. Some critics have suggested that rape-revenge narratives can subvert traditional power dynamics, ultimately empowering the victim. Others have said films like The Woman or I Spit on Your Grave can't possibly be regarded as feminist works because rape-revenge films are inherently misogynistic, produced solely to depict violence against women. View...

Dir. Marcus Nispel When his younger sister becomes the latest person to go missing during a camping trip to Crystal Lake, Clay Miller sets out to find her, with or without the help of the local police. Falling in with a crowd of teens staying in a holiday chalet on Crystal Lake, he is joined by sympathetic Jenna in his search of the local area, while her friends remain at the house to party. Before long it becomes apparent the area is stalked by a hulking psychopath who abducts and murders anyone who encroaches upon the grounds of an old summer camp… It would seem those old campfire tales of a hermetic psycho named Jason Voorhees may have had more of a grounding in reality than anyone ever dared dream of… Let the blood run free! When it was originally conceived, the remake of Friday the 13th was intended to be an origin story, detailing the genesis of mass murderer Jason Voorhees. Writers Damian Shannon and Mark Swift, who had previously worked on Freddy vs. Jason for New Line...

2003 Dir. Ronny Yu The memory of Freddy Krueger has been collectively suppressed and vanquished from the youth of Springwood – rendering him powerless and incapable of claiming any more victims. The dream-dwelling killer therefore resurrects the brutish Crystal Lake marauder Jason Voorhees and manipulates him into going to Springwood to carve up a few teens and strike fear and chaos into the community once again. Only problem is, once Jason starts a-killin’, there’s just no a-stoppin’ him. There’s eventually a big show down between the pair and some unfortunate teens who get stuck in the middle of it all… Since the initial idea of filming a face off between Freddy and Jason way back when Friday the 13th Part VII: The New Blood was being developed, there had been numerous screenplays by a plethora of writers over the course of a decade that tried to flesh it out and make it a reality. The show-down between two of horror cinema's most iconic antagonists was stuck in developm...

2001 Dir. Jim Isaac In the near future a team of government scientists finally succeed in capturing and containing the seemingly indestructible killer Jason Voorhees. They plan to cryogenically freeze him, but not before he breaks free and slaughters all but one of them. Sole survivor Rowan lures him into the chamber but is frozen in time with him. Flash forward to the year 2455; earth is an uninhabitable wasteland, devoid of life. Jason and Rowan are discovered by a team of interplanetary explorers on a scouting mission to earth, and taken back to their ship to be thawed out. Newly revived, Jason does what he does best. Murderlises people. In space (!).  The final shot of Jason Goes to Hell: The Final Friday AKA Friday the 13th Part IX promised us a confrontation between Jason and Freddy Krueger. Indeed, with that ‘final’ instalment of the series and with Krueger’s own franchise coming full circle with Wes Craven’s New Nightmare , the time to bring both villains together...

1993 Dir. Adam Marcus While up to his old tricks at Crystal Lake, Jason is blown to smithereens by the FBI. During the autopsy however, his demonic spirit possesses the coroner who sets off on a killing spree, in search of Jason’s hitherto unmentioned niece, Jessica, the only person who can stop him once and for all. With his spirit jumping from person to person by way of a parasitic, demonic heart (!) rendering those it possesses indestructible, it won’t be an easy task for Jessica to defeat him… “ Through a Voorhees was he born... Through a Voorhees may he be reborn... And only by the hands of a Voorhees will he die .” Another year, another Friday the 13th movie which claimed to be the last in the series. Wasn’t that supposed to be The Final Chapter back in ’84? My brain hurts. New Line Cinema now owned the rights to the series (well, to the name of 'Jason Voorhees', anyway), and Jason Goes to Hell: The Final Friday was also the first film in the series since the ...