Latest news with #horrorfilms
South China Morning Post
6 days ago
- Entertainment
- South China Morning Post
Godzilla's 70th anniversary celebrated in huge new book with over 900 photos
American author Steve Ryfle remembers scouring his TV guide every week to find the monster movies and horror films he loved. Advertisement 'The Japanese films always appealed to me the most,' says the co-writer of the Emmy-winning 2017 documentary Miracle on 42nd Street. 'They were intriguing because they took place in a world that was unfamiliar, a culture that was unfamiliar.' Godzilla, he says, was especially captivating to a dinosaur-loving kid. 'Of course, when you're younger, you're into dinosaurs,' he says. 'Godzilla seemed like the greatest dinosaur I'd ever seen, and it did all these crazy things, and I just loved it.' Along with Ed Godziszewski, Ryfle is the co-author of the massive new book Godzilla: The First 70 Years, a 432-page, nearly 6lb (2.7kg) book filled with stories, interviews, breakout boxes and more than 900 photos of one of cinema's most enduring figures. Pages from Godzilla: The First 70 Years. Photo: Harry N. Abrams The book, which features introductions by Halloween and The Thing directing legend John Carpenter and recurring Godzilla actress Megumi Odaka, is the culmination of an effort by publisher Harry N. Abrams and Godzilla film producer Toho Studios to mark the anniversary with the ultimate English-language book examining the narrative and visual history of the films, Ryfle says.
Malay Mail
6 days ago
- Entertainment
- Malay Mail
‘Eat the rich': Why horror films are taking aim at the ultra-wealthy
This story contains spoilers about Ready or Not and The Menu. LOS ANGELES, July 24 — When Amazon founder Jeff Bezos and fiancée Lauren Sánchez held their lavish three-day wedding celebration in Venice recently, it wasn't just a party — it was a spectacle of wealth, reportedly costing between US$47 million (RM198.6 million) and US$56 million. Critics highlighted the environmental toll of such an event on the fragile, flood-prone city, while protesters took to the streets to condemn the wedding as a tone-deaf symbol of oligarchical wealth at a time when many can't afford to pay rent, let alone rent an island. The excessive show of opulence felt like the opening of a horror film, and lately, that's exactly what horror has been giving us. In films like Ready or Not (2019) and The Menu (2022), the rich aren't simply out of touch; they're portrayed as predators, criminals or even monsters. These 'eat-the-rich' films channel widespread anxieties about the current socioeconomic climate and increasing disillusionment with capitalist systems. In a world where the wealthy and powerful often seem to act with impunity, these films expose upper-class immorality and entitlement, and offer revenge fantasies where those normally crushed by the system fight back or burn it all down. Horror takes aim at the wealthy Originally a quote from social theorist Jean-Jacques Rousseau during the French Revolution, 'eat the rich' has re-emerged in recent years in public protests and on social media in response to increasing socioeconomic inequality. In cinema, eat-the-rich films often use grotesque hyperbole or satire to reveal and critique capitalist systems and the behaviours of the wealthy elite. Film scholar Robin Wood argues that horror films enact a return of what is repressed by dominant bourgeois — that is, capitalist — ideology, typically embodied by the figure of the monster. He cites The Texas Chain Saw Massacre (1974), a classic example of anti-capitalist sentiment in horror that depicts Leatherface (Gunnar Hansen) and his working-class family as monstrous victims of the 1970s industrial collapse. Rather than accept repression, they return as cannibalistic monsters, making visible the brutality of capitalist systems that exploit and degrade people like obsolete commodities. But in eat-the-rich horror, it is the wealthy themselves who become the monsters. The locus of repression becomes their privilege, which is often built on exploitation, inequality and invisible or normalised forms of harm. These films render these abstract systems tangible by making the elite's monstrosity visible, literal and grotesque. Revenge horror for the 99 per cent Recent horror films are increasingly using genre conventions to critique wealth, privilege and the systems that sustain them. Ready or Not turns the rich into bloodthirsty monsters who maintain their fortune through satanic rituals and human sacrifice. Grace (Samara Weaving) marries into the Le Domas family, board game magnates who initiate new family members with a deadly game of hide-and-seek. She must survive until dawn while her new in-laws hunt her down to fulfil a demonic pact. The film critiques the idea of inherited wealth as something earned or honourable, combining humour and horror to reflect anxieties about class entrenchment and the moral decay of the elite. The Le Domases are monstrous not only for their violence, but for how casually they justify it. When several maids are accidentally killed in the chaos, they react with self-pity, indifferent to who must be sacrificed to maintain their wealth. In The Menu, the rich are portrayed as monstrous not through physical violence, but through their moral failings — like financial crimes and infidelity — and their hollow consumption of culture. Celebrity chef Julian Slowik (Ralph Fiennes) lures wealthy foodies to his exclusive island restaurant, using food as a weaponised form of art to expose guests' hypocrisy and misdeeds. In one scene, guests are served tortillas laser-printed with incriminating images, such as banking records and evidence of fraudulent activity. The film criticises consumption in an industry where food is no longer a source of enjoyment or sustenance, but a status symbol for the elite to display their wealth and taste. Why these films are striking a nerve now It's no surprise that audiences are turning to horror to make sense of systems that feel increasingly bleak and inescapable. In Canada, the cost of living continues to outpace wages, housing affordability remains an issue for many, while grocery prices are a source of horror in their own right. A university degree, once considered a reliable path to stability, no longer guarantees the financial security of a salaried job. Many Canadians now rely on gig economy jobs as supplementary income. Meanwhile, the wealth gap is increasing and obscene displays of wealth — like a multi-million-dollar wedding — can feel disconnected, even offensive, to people experiencing financial precarity. Eat-the-rich films tap into this collective sense of injustice, transforming economic and social anxieties into a cathartic spectacle where ultra-wealthy villains are held accountable for their actions. At the end of Ready or Not, the members of the Le Domas family explode one by one and their mansion burns down. In The Menu, the guests are dressed up like s'mores and immolated. In both films, fire serves as a symbolic cleansing of the wealthy, their power and the systems that protect them. More than that, these films provide someone to root for: working-class protagonists who are targeted by the elite but ultimately survive. Former foster child Grace fights her way through a pack of murderous millionaires, while escort Margot/Erin (Anya Taylor-Joy) is spared when she rejects the pretentiousness of fine dining and orders a humble cheeseburger instead. In this way, horror becomes a form of narrative resistance, illustrating class rage through characters who refuse to be consumed by the systems trying to oppress them. While inequality and exploitation persist in reality, eat-the-rich films offer escape, and even justice, on screen. — Reuters
CTV News
19-07-2025
- Entertainment
- CTV News
What's On: JFL, Fantasia, and Cho Dem
Montreal Watch Chris Bumbray provides the lowdown on stand-up comics, Asian and horror films, and Vietnamese food.
Daily Mail
13-07-2025
- Entertainment
- Daily Mail
Iconic '90s sitcom mom who started her career in horror films pictured on rare outing... can you guess who?
She was a famous television actress who made her name in several roles throughout the 1970s and 80s. The Canadian-American actress was born in Winnipeg, Manitoba and began acting as a teenager in the late 1960s. She also starred in a few cult classic horror films. However, perhaps her most famous role was starring as a mother in a popular medical comedy-drama series in the early 1990s. The star was recently seen walking her dog with her husband in Southern California. Can you guess who the actress is? It's Belinda Montgomery! The 74-year-old actress was seen out and about with her husband Jeff Stillman in Stevenson Ranch, California. The veteran star opted for comfort in a white patterned top with blue jeans and white sneakers. Belinda made sure she was protected from the sun as she sported a baseball cap and black shades. Her blonde locks were worn down under her headwear as she showcased her natural looks by going make-up free. The talented star is perhaps best known for her work starring as Katherine Howser who was mother to the Neil Patrick Harris titular character in Doogie Howser, MD. She starred as Katherine Howser in all four seasons of the medical drama sitcom. Katherine was originally a housewife until later returning to work as a patient advocate at her son's hospital. Belinda has had an acting career which has spanned over five decades. Belinda made sure she was protected from the sun as she sported a baseball cap and black shades Her first television roles were as a baby faced teenager as she first gained prominence starring as the titular character in 1969 television film Hey, Cinderella! She also starred as Dr. Elizabeth Merrill alongside Patrick Duffy in sci-fi series Man From Atlantis over two years in 1977 and 1978. The Canada native also had successful roles in film specifically in the horror genera as she starred in 1979's Stone Cold Dead and 1984's Silent Madness. Belinda also starred in The Todd Killings (1971), The Other Side of the Mountain (1975) and its sequel The Other Side of the Mountain Part 2 (1978). Her final role was as Carol Winters/Mrs. Claus in 2017 American-Canadian made-for-television romantic comedy film Snowed-Inn Christmas which aired on Lifetime.
Forbes
27-06-2025
- Entertainment
- Forbes
'Maa': India's Vishal Furia Explores Social Issues With Horror Films
Indian star Kajol on a poster of the Hindi film 'Maa'. It marks the first Hindi theatrical release ... More for director Vishal Furia. After proving his prowess with the critically acclaimed films Lappachappi, Chhorii and Chhorii 2, Indian filmmaker Vishal Furia has now come up with Maa. An Ajay Devgn production, Maa features Kajol in the titular role and is set to hit theatres on June 27. This will be Furia's first ever Hindi theatrical release. In an exclusive interview, the director shares his views on exploring social issues, especially those affecting the womenfolk in his country, through the populist genre of horror films. Maa, Chhorii 2 and more: Indian filmmaker Vishal Furia interview Filmmaker Vishal Furia shares his views on weaving social issues within horror films. Furia, a self-confessed fan of Tim Burton, M Night Shyamalan and Takashi Miike, began his journey with the Marathi horror film Lapachhapi which he remade in Hindi for Prime Video as Chhorii. His new Hindi film, Maa, appears to be pegged on human trafficking and comes from the producers of Shaitaan - the Ajay Devgn-R Madhavan starrer horror film that impressed box office last year. Maa features Ronit Roy and Indraneil Sengupta along with Kajol. Furia says Maa was an interesting film when it was offered to him and Kajol was already set to play the lead in the Devgn's production. 'Ajay Devgn offered me that film. They were developing it in their studio with Kajol already in place. It is a great addition to my trajectory as a horror filmmaker. I was more than grateful and happy to pick it up. Devgn has mentored us throughout the film.' He adds, 'No, no. Maa is not my story. Saiwyn Quadras has written it. I was just happy to do it. I was happy I got to work with these two big legends - Kajol the wonderful actor and Ajay Devgn the distinguished producer. He is a visionary producer, and it was great working on that film.' Furia's films are all about social issues and messages about dealing with them. However, they are never preachy. Is that a conscious effort he needs to make every time? 'Yeah, I don't think preachy films have a very strong impact. I feel the message becomes stronger when it comes through a story being told, not just preaching about the message. I prefer to tell a story. I prefer that the audience put themselves in the shoes of the characters of the film and start living the story. I want them to understand what the character is going through. I like hitting the message sometime later, and slowly.' Furia's filmography traces the life of a woman - his first (Marathi original and Hindi remake) highlighted the horrors of female infanticide while the second one (Chhorii 2) underlined the aftermath of child marriage. The promotional videos of Maa suggest that his third one may be about child trafficking. The Evolution of Horror Films in Hindi Cinema Since the release of Stree in 2018, India has seen a surge in Hindi horror films which highlight social evils. Furia's Marathi film, Lappachappi came a year earlier. 'A huge number of audiences went to the theatres to watch that film. I believe the audience wants to watch good horror films that also make a difference to the society, but we failed to give them the right product.' He adds that horror 'took a little dip because of the kind of template and mold that it was made in'. Referring to horror erotica that was the popular genre in 2000s Indian films, the filmmakers adds that Indian horror films became 'not very friendly for everyone to watch'. 'It became a bit of a degraded genre. It lost its respect on the way somewhere and it was considered shallow because of that. People stopped watching Indian horror films. But they were watching horror from everywhere else in the world. We are back on the path of telling Indian stories, with respect and dignity while saying something even more. Now, I think we have come on track with that. I think now all sub-genres of horror will thrive going ahead.' Furia insists that the Chhorii franchise is not just horror but goes beyond the thrills of a horror film. It was an organic growth of the first story from childbirth (Chhorii) to the second one about a slightly grown-up child and child marriage (Chhorii 2). Furia laments how unfortunate it is for such social evils to still exist. 'Child infanticide, child marriage. Things that should not exist, unfortunately they still do. It organically went into a second part. My challenge was to make the sequel scarier, and darker. The world we created helped us in doing so. More the claustrophobic spaces, complex spaces and characters the more amplified is the horror.' Confirming that he has thoughts on more sequels to Chhorii franchise, Furia says, 'Unfortunately, the society is not very good with women, the way they treat women. There are so many issues that need to be talked about. I am angry, even as a male, and this is my way of showing my anger. I think it (Chhorii) is not over yet.' 'I am genre agnostic. Always something that I offered to the industry to start my career. I thought horror was quite under-serviced and it was a genre I really loved. Now, a lot of horror scripts come to me. Having said that, I am a filmmaker at heart. I want to tell good stories irrespective of the genre. I will continue crime thrillers. I am working on a comedy.'
