Pregled posta

When did it become okay for horror to stop scaring us?

The genre’s trended toward forsaking the unknown for the familiar, embracing recognition that’s helped make Freddy Krueger and Jason Voorhees as identifiable as Mickey Mouse. Horror, pertaining mainly to America’s output, has become our weakest genre (minus a few notable exceptions) – subjected to franchise treatment time and again, with filmmakers opting to riff on what’s come before in opposition of building any mystique inherent with original material.

Tobe Hooper’s 1974 masterpiece, The Texas Chain Saw Massacre, wasn’t scary for what lurked beneath the veil. It was the suggestion of awfulness that could’ve existed beneath. Why horror continues lifting that veil, peeling off the meat until it’s bone dry and making off with the naked skull to pawn it off for pittance is becoming a ritual of ever-increasing transparency.