Posted in Blog, Lifestyle, Music, Personal

The spookiest songs for your Halloween playlist

Hola amigos,

Halloween is almost here, so I thought I’d share some of my favourite horror movie songs to help you build a spooky playlist to celebrate Halloween.

  1. God Ends Here – Abel Korzeniowski (From The Nun)

    The Nun is one of the most talked about horror films of 2018, finally putting the spotlight on the fearsome Valek, from The Conjuring franchise. While The Nun did receive mixed reviews as a film, the score was undeniably spooky.

  2. Halloween Theme – John Carpenter (From Halloween 2018)

    Michael Myers returns to bring terror to the big screen, with the recently released Halloween. Not only do we have the return of Michael, as well as one of the most famous and beloved scream queens, in Jamie Lee Curtis, but we also have the return of the legendary John Carpenter, and a refreshed take on the iconic theme song of Halloween.

  3. Burning Tree – Hans Zimmer (From The Ring)

    Hans Zimmer is a legendary composer for a reason, and his work on the first two films in The Ring series are a further indication of his talent and brilliance. Each track carries the haunting melody that accompanies the series’ primary antagonist Samara, but each track has a different feel and mood, creating a mesmerising and chilling soundscape.

  4. Free Evil – Joseph Bishara (From 11-11-11)

    Admittedly, I haven’t seen 11-11-11. I discovered this track through Apple Music, after it was recommended to me, from some of Joseph Bishara’s other work. Joseph Bishara has worked on other soundtracks, such as Insidious and Annabelle, so his work in the horror genre is well known, but his work on the 11-11-11 was an interesting hidden gem.

  5. Zepp Eight – Charlie Clouser (From Jigsaw)

    As a long term fan of the Saw series, I was slightly disappointed with Jigsaw as a film, but as is always the case with Saw films, the score was outstanding. Zepp Eight was the standout track for me, breathing new life into Saw’s signature sound.

  6. Freddy’s Coming For You – Steve Jablonsky (From A Nightmare On Elm Street 2010)

    I know that some people have mixed feelings about reboots and remakes, especially in the horror genre, and remaking a film as beloved as A Nightmare On Elm Street was never going to be easy. While I have mixed feelings about the film itself, the score was something they got completely right.

  7. Peter – Colin Stetson (From Hereditary)

    Hereditary is probably my favourite recent horror film. I saw it several times at the cinema, and counted down the days until it was released on VOD. Part of what made the film so enjoyable was its incredible score, composed by Colin Stetson, and this track was my absolute favourite.

  8. Keep The Lights Out – Benjamin Wallfisch (From Lights Out)

    I was really excited when I heard that one of my favourite horror shorts was being adapted into a feature film, and while the final film was quite disappointing, the score was great, and one of the only aspects I thought matched up to the brilliance of the original short.

  9. Overlay of Evil / Main Title – Harry Manfredini (From Friday The 13th)

    Jason Vorhees and his mother are scary, but I’d say the soundtrack for the various films in the series are scarier.

  10. It Begins – tomandandy (From Sinister II)


    While I feel Sinister is the  better film of the series, I do feel Sinister II had the superior score, it perfectly captures the ongoing dread and horror of the film.

I hope you have a great Halloween!

Besos,

J x


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The best and worst of Horror on UK Netflix

Hola amigos!

As usual, I’ve been watching many diabolical things, in an attempt to discover something that frightens me more than the prospect of Brexit, and my streaming service of choice is Netflix. Netflix has a lot to offer, but tends to lack a lot of key horror titles, but I’m here to take you through some of the best horrors I could find, and some that you’re better off avoiding.


The Best

The Invitation

The_Invitation_(2015_film)_POSTER
A very convincing argument for never speaking to your ex again.

The Invitation is what I will show anyone that tries to convince me that my policy of completely erasing exes from my life is self destructive. Our hero, Will arrives at his gorgeous former home with his new girlfriend, for dinner with his ex wife. It is quickly revealed that the pain of their young son’s death caused Will and his wife to divorce.

Of course, people handle things in different ways, and at different paces, and to the rest of the world, Will’s ex wife Eden seems to be moving forward in her life, but underneath her smile and equally smiley husband (a sure sign that something is wrong in horror, would be an abundance of smiling) lies a very dark truth to how Eden has recovered so well.

Without spoiling too much (I know, I always do that!), The Invitation really looks at the idea of whether we as people are every truly capable of knowing each other, and knowing the true capabilities of those around us, as well as giving a definitive answer to whether the past really should remain in the past (brief spoiler alert, it definitely should).

Black Mirror

black mirror jennifer juan
The future is bright, but it scares the shit out of me.

Now, some wouldn’t consider Black Mirror to be horror, but I personally would. Perhaps not all of it is horrific (San Junipero says hello, and I’m crying all over again), but there are many horror aspects, and so one could argue it is a horror anthology, and, well, I am.

One of the most frightening parts of Black Mirror is coming face to face with how truly awful we have the potential to be. Why fear ghosts and creatures when monsters are walking past us every day, right? Charlie Brooker has succeeded in showing the reality of every day life and human nature, and how it can lead to chaos, destruction, and unfortunate pig related incidents.

I’d personally say that my favourite episodes were “National Anthem” and “Playtest” but I’ve never finished an episode and felt unsatisfied, so I’m sure you’ll enjoy them all.

Shutter

Shutter08poster jennifer juan
More trouble with exes..

Now, I’ve been very vocal about how disappointing western remakes of eastern horror can be (Death Note, I’m looking at you), but Shutter is definitely one of the better ones.

As Ben and his new wife Jane travel to Tokyo to start their new life as a married couple, they think nothing could go wrong. This is a horror movie, and so, of course, they are wrong. The trouble begins when Jane hits a girl with their car, and the girl vanishes without a trace.

They try, as people in horror movies often do, to forget about the situation and move on with their lives, but of course, that just isn’t going to happen, as Ben’s photographs begin to show signs of spirit photography, leading Jane to begin unravelling the mystery of Megumi Tanaka, and the horrific truth of her connection to the newlyweds.

As mentioned, it is one of the better adaptations of an eastern horror, and will certainly deliver more scares with less lazy crossover writing than some of it’s peers.

The Mist

The_Mist_title_card jennifer juan
Dreams, after all, are insubstantial things, like mist itself.

With the recent release of It, many of us will be looking for something Stephen King related to continue the scares after watching, and The Mist is the perfect option. The movie adaptation is a favourite among many horror fans, for it’s terrifying visuals, and breathtakingly bleak ending, and the television series does a great job of continuing the universe of King’s original story.

I must admit, I was hesitant to begin watching the show, as The Mist genuinely troubled me when I watched it, many years ago, on Sky Movies, when my mum was out of the house and couldn’t stop me, but I’m very glad that I put my self inflicted childhood trauma aside and gave it a chance.

With an impressive cast, and the opportunity to delve further into the story than the movie adaptation, it is definitely an enjoyable show for fans of Stephen King, and honestly, anybody else.


The Worst

Unfriended

Unfriended_2015_teaser_poster jennifer juan
Please, little girl, take this lollipop…

Unfriended was an ambitious idea, and so I will give them credit for that. Focusing the entire audience perspective on social media is certainly original, but that doesn’t necessarily mean it was the right step. I applaud the originality but I feel the movie relied on that gimmick too much, and didn’t give proper attention to character development.

One of the key things with horror, is creating characters that people care about. If you I don’t care about the characters, why should I care when they die, or get damned to hell, or eaten, or whatever you’re doing to them. One of the curses of modern horror is reliance on jump scares or quirky gimmicks, to cover up that a story doesn’t make sense, or the characters are poorly developed, and Unfriended is definitely guilty of that.

I suppose the message of “Don’t cyber bully” is nice to see in a mainstream movie, but I couldn’t really get past how weak the writing was, and so the message was lost, for me.

The Green Inferno

The_Green_Inferno_poster jennifer juan
We get it, Eli, you’re really edgy.

If you’re ready for more poorly developed, unlikable characters, then you may enjoy The Green Inferno.

Now, as many of you may know, I am not the biggest fan of Eli Roth (although, I did think Hostel was great), and so perhaps I’m being a bit harsh, but honestly, for someone who is hailed as one of the brightest stars in the horror genre, I expect better, and The Green Inferno was a massive disappointment.

I’ve mentioned this before, but one of the most annoying parts of The Green Inferno, for me, was the mess of messages for the audience. It was so difficult to pin down who I was supposed to sympathise with, or if I was even supposed to care at all. A lot of the time, it felt like it tried to emulate the message of Cannibal Holocaust (We think that indigenous people are savages, but WE are the savages), but they also shoved a whole bunch of 4chan worthy shit on top that it was lost. We get it, Eli, you’re really edgy. We get it.

One of my problems with The Green Inferno was that, while admittedly it was a homage to Italian cannibal movies, and so would naturally have similarities to many existing ones, including Roth’s blatant main muse, Cannibal Holocaust, it didn’t feel like Roth did anything new with the genre, or the resources available to him. It felt like the kind of thing kids would make on windows movie maker, for a GCSE media class, but with a bigger budget, rather than feeling like a movie made in tribute, but with original thoughts and ideas behind it, so the whole thing just came off as lazy.

The only interesting or slightly likeable characters turned out to be the tribe, and so I wasn’t too bothered as they picked off most of the characters I was meant to be rooting for.

Roth also got overly defensive, when accused by Survival International of continuing to give a platform to negative stereotypes about indigenous people, saying “The idea that a fictional movie about a fictional tribe could somehow hurt indigenous people when gas companies are tearing these villages apart on a daily basis is simply absurd.”

I get defending things you create, to a point, but this seems like a case of a creative never having had to face major criticism before, maybe because the entire genre they dominate keeps telling them how clever they are, and how special they are, and then getting defensive when confronted with genuine criticism, because it hurts their ego.

He went on to say “The fear that somehow a movie would give them ammunition to destroy a tribe all sounds like misdirected anger and frustration that the corporations are the ones controlling the fates of these uncontacted tribes.”

The fact is, dehumanisation of marginalised people is what keeps them marginalised, and this is partly done by the media and entertainment industry, so, yes, while the movie didn’t drive the whole world to attack uncontacted tribes, it is part of the fabric of their dehumanisation, and to say that these things don’t influence or vindicate prejudiced people, who kill people who stand in the way of profit, is naive at best, and ignorant at worst, because they are only able to kill those people, because they have been so dehumanised that they no longer see them as people. Attacks on indigenous people are still a reality and while I wouldn’t say writers and film makers should never touch on subjects like this, they should at least try and be responsible, and not act like people being offended by their bad treatment of sensitive topics is unfair.

Eli Roth is a grown man, a grown man of 45 fucking years old. If he’s grown enough to make his little cannibal movie, he should be grown enough to defend it without shouting down people’s opinions, and throwing a tantrum because people don’t “get” him, and actually confront his work with criticism.


Besos,

J x

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Dating, and new writing

Hola amigos,

I hope you’ve been well. I’ve been very busy, going on quite a few dates… with myself. I’ve been single for a while, to be honest, I’d like to be for a bit longer, but I missed things like going to dinner, or seeing a movie, and initially, I thought it would be lonely to do it by myself, but actually, there are a lot of benefits.

For a start, I’m paying for everything myself, so there is no pressure to give anything back (financially or otherwise)for the drinks or the dinner, and I can also wear what I want without there being a sense of entitlement from someone else, because I’m the only one there!

I can also get an ice blast at the cinema, and nobody can tell me that adults shouldn’t have them, because I’m the only one there and I don’t care.

I’ve been on quite a few cinema trips lately, and rediscovered how enjoyable it can be just to sit, and be absorbed by the universe of someone else’s creation. I normally watch movies alone, but I’m big on multi tasking, so I’ll be writing while watching, which can be a little distracting. A major upside to watching a movie alone, and without distractions is that I can see whatever I want. I spent a lot of time when in relationships having to compromise, because most people aren’t interested in horror movies, and mentioning subtitles would send most of my exes running for the hills, so it’s nice to be able to watch things I’m actually interested in.

In other news, below is some new work I’ve finished. I hope you enjoy it!

Besos,

J x


baby steps jennifer juan

No Idea Why

£19.92

Follow

The Two I’s

Damien’s Lament

Baby Steps

Before You

Told You

Freak

White Cliffs Of Dover

Straw

Yearbook

-x-

No Idea Why

I looked up, back down.

I’m fascinated by the fear that frequents our moments together.

No idea why.

I took a step, silent, ran back.

No.

I’m cornered by my curiosity, for the way that you could love me.

I’ve no idea why.

You shy away, just like me, though our hearts have done marathons.

One wrong move from a nervous mouth can ruin a good thing I suppose.

No idea why.

-x-

£19.92

Kicks away the blankets,

still covered with the prints of her producers,

her days are caught in crying,

because she belongs to the songs she sold her soul for,

the melodies are mocking,

and though the crowds sustain her day to day,

she is only alive,

at the edge of death.

-x-

Follow

Anything to be with you.

I’ll go where the trail of your heart desires,

melting at my core,

on an endless exploration.

Anything to burn with you.

Show me the jaw of the jungle,

let me sleep in it’s swallow,

axed by the acid that awaits me.

I’m not afraid,

to die for our journey,

lost to your longing for the universe.

Anything to breathe with you.

Take me to the highest point,

to the ends of the earth,

and into the sun,

to burn up,

at the very thought of you.

-x-

The Two I’s 

My hands are dead,

done with drawing deeds we never did,

and my heart is hardened,

from hearing what it cannot have.

I’m saved by my sanity,

until it leaves,

through the same door she did,

then I’m helpless to myself.

She said I was intelligent,

until I was “insane”.

I’m insane enough to wait my life for her,

and intelligent enough to make it art.

-x-

Damien’s Lament

She’s sleeping.

I watch her toss and turn,

my stomach does the same.

I’m sure her eyelids are a work of art,

and her fingertips are fondant fancies,

french tips, fit for my lips.

Her face is lonely,

without my eyes to keep it company,

the wonder of her waking,

is worth the risk of arrest.

-x-

Baby Steps

She stumbles behind us,

running to keep up.

We need to lose her,

so we can lose ourselves.

Nobody knows,

I’m not even sure I do,

but maybe we’ll know,

alone at the lake,

learning to kiss,

and learning to cry.

-x-

Before You

I’ve given up on giving you everything I had.

I’m picking up the pieces that I put on display,

you never understood them,

and you wouldn’t take a step into my gallery.

I glue the girl back together,

though she fights the skirts you sneered at,

and the pink lip you said wasn’t to your taste.

I place it on her mouth,

to decorate the long howls,

and dress her in all she has left.

I still paint by your numbers,

they add up to fuck all,

I have more troubles,

than your approval,

but I seek it,

every second.

I’m busy rebuilding the girl you left behind,

and the girl she was,

before you.

-x-

Told You

I told you I’m a liar,

but you didn’t believe a word I said.

You told me I was the only one for you,

and I told you I wasn’t for anybody.

Just say it if you want to,

and maybe I’ll figure it out along the way.

Spell it out, say syllables,

because I never learned to read.

Love me if you want to,

I won’t think any less.

I don’t really think at all,

but maybe that could change.

-x-

Freak

She’s uneasy on her feet,

and harsh on the world.

Her head is in the past,

that stabs and stands above,

no matter where she runs.

Would you believe her,

if she said a heart,

was fighting,

under that freak in teal?

-x-

The White Cliffs Of Dover

I’m on a cliff,

and on the sea floor,

in a moment,

if I want it.

I don’t hear Vera,

or love, or laughter,

just waves and wind,

and the rushing of my stillness.

Erode me to the air,

or save me from myself,

right now, it doesn’t matter,

and neither does what led me here.

-x-

Straw

He pulls on my hair,

he pulls on my nerves.

He presses his lips to the straw in his hand,

and all over again, I’m envious of inanimate objects.

My heels removed,

I’m a girl again.

I am blushy, I am mushy,

and I’m disgusted by my desire for him.

He’s drinking again,

as I drink him in.

I’m euphoric, and pathetic,

and I know that he loves it.

He touches my heart,

my hands and my lashes.

The world has stopped,

and only he can make it start again.

-x-

Yearbook

Voted most likely

to steal your elderly husband,

in my high school yearbook,

‘Cause I’m a vampire for vintage,

and I need that stale sweet blood.

I need some seasoned love,

because tomorrow’s man,

doesn’t factor into my future.

I want a face and heart,

with character,

and an earth of experience,

to impact upon my sun.

-x-


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Thought Provoking stories in your horror movies? It’s more likely than you’d think!

I know, I know. I’m late with my Get Out thinkpiece, but to be fair, it was released later here in the UK, and also this isn’t so much a Get Out thinkpiece, as a plea for the real world to stop treating horror movies as the annoying little sibling who doesn’t deserve to sit at the grown up table. Let us begin.

I thought Get Out was phenomenal (please don’t ask me how many times I had to type that word to get rid of the dreaded red line, I am not the best speller..), and one of the best horror movies I’ve seen in 2017 so far. Daniel Kaluuya has always been an actor I’ve enjoyed watching, since I first saw him on BBC’s eclectic horror comedy series, Psychoville. He continued to impress over the years, and really gave a stellar showing in Get Out, as the hero, Chris. The writing was clever and engaging, and the entire film was a blood soaked joy to watch, which is exactly what I want in a horror film.

la-et-hc-get-out-horror-peele-20161004-snap
Daniel Kaluuya, star of Jordan Peele’s Get Out.

As a child of an interracial relationship, and a participant in a few (well, considering I’m literally a mixture of two races, I think, biologically speaking, any relationship I have will be interracial, but I’m being pedantic), I am well aware of not only how great they can be, but also the sobering difficulties that interracial couples can face, outside of their own loved up bubble. It isn’t just obvious prejudice, but subtle “well meaning” issues. Of course, someone threatening to burn your house down, or kill you for being in a relationship outside of your race is noticeable, but there are acts of prejudice that will sometimes fly under the radar, and this film expertly and fearlessly exposes racist microagressions and opens up discussion of the full scope of racism, including the well meaning allies who still, however accidental play a part in racism, and of course, the “I’m not racist, but…” crowd.

It achieves this without being patronising to those who may want to help break down barriers and use their privilege to help people, in a way that The Green Inferno, Eli Roth’s cannibal holocaust edge lord, try hard rip off tribute attempted to do, but didn’t quite manage. The message was much clearer, didn’t sound condescending, and the conspiracy theories were at least well explained, related to the topic at hand and not just yelled out by a caged hipster. That makes a lot more sense if you’ve seen The Green Inferno, and if you have a few hours to spare, it’s on amazon prime, and while a bit crap, it’s kind of a laugh, even if it’s just for how seriously it takes itself.

Get Out is by no means the first horror movie to confront real world issues, but it’s massive success has opened up potential new viewers to all the great things horror as a genre has to offer, including but not limited to “woke” horror (and by that I don’t mean Nightmare On Elm Street), and sent a clear message to the bigger studios that not only is horror worth investing in outside of October releases, but that mindless horror isn’t the only profitable option.

Horror is, in my opinion a great genre to explore and discuss the harsh realities of life, because is there really any more realistic a picture of humanity than one of humanity in peril? The truth of who we are and why we are that way is easily exposed under the threat of death, whether it’s from zombies, ghosts, cannibals, or your unfriendly neighbourhood racist.

Zombie movies, as overexposed as they might have been in recent years are a great example of privilege in action. Working class people are normally the first victims in the apocalypse, because, well, they’re at work, surrounded by people, some of which may be zombies, and they don’t have helicopters, huge cars or boats to get away from the carnage. I can tell you right now, the second Z Day comes, I will be one of the first to go. I don’t drive, I don’t have a cool method of escape, and it takes me at least two hours of commuting on public transport to get home of an evening. I’ll be eaten before I make it past Bluewater. Meanwhile, those richer than me will have better means of escaping. Whether they’ll be anything left to escape to at the end of the day is anyone’s guess, but they’ll have a better chance than me. Is this fair? No. Is it the way life currently is for me? Yes.

MV5BYWMzMzgwMjItMGI1ZC00MGY0LTgwY2MtMWQ0NzQ2MDZiMDE0XkEyXkFqcGdeQXVyMjExMDIwNzA@._V1_SY1000_CR0,0,717,1000_AL_
The Rezort, one of the most recent Zombie movies to shine a light on the true price of not being able to afford safety in a disaster.

This is of course reminiscent of real life natural disasters, in which money can go a long way to preserving your safety, while the underprivileged don’t have the resources to have safeguards in place, or any way to help themselves when disaster strikes. While zombies might be a fantasy, the fact that in a crisis, large parts of the world’s population will be fucked over because they are from a lower economical standing and don’t have access to things that will help them is not.

The recent debate over women’s rights to their own bodies has also been covered numerous times in horror. Classic film Rosemary’s Baby is a harrowing look at the lack of autonomy women hold over their bodies. Not only is Rosemary sexually assaulted by a demon, her husband casually lies and states that he had sex with her when she was unconscious, to cover the fact that she was sexually assaulted by a demonic presence. During her pregnancy, her concerns are silenced and she is eventually forced to mother the Antichrist.

picture-of-rosemarys-baby-photo.jpg
One of the most iconic Mother’s in cinema history was the most unwilling.

While I’m not aware of cases of women being raped by demons, or forced to carry the Antichrist to full term, I am aware of cases of women being raped in the real world, and having their fears and concerns silenced, I am aware of women in the real world who are denied a choice on carrying a child to full term, and the fact that these realities are not just playing out on a screen, and are, in some sense real, should terrify us, but like many of the characters in Rosemary’s Baby, people will find ways to justify women being treated this way, or will just ignore it.

While many see Saw as a yearly money raising exercise for Lionsgate, the Saw series did contain a hard dose of reality along with it’s gore. There are people who think like John Kramer, and believe they have a right to play God because they are unhappy with people’s attitudes, there are corrupt police officers like Mark Hoffman who will use the power entrusted to them by their communities to commit crimes, and they’ll try and justify them too. There are people like Amanda Young, who are vulnerable, and can form great bonds with those that abuse them, whether it’s the one who enabled her drug habit, or the one who stuck a bear trap on her head and forced her to disembowel a man. These people may never see themselves as abusers, they may see themselves as saving their victim, but the reality is, Amanda Young was a victim of abuse, those that abused her, especially John Kramer insisted that it was her own fault. He insisted that he “fixed” her, he brainwashed her until she believed it. In the real world, this is called victim blaming, and while John suffered for it, many in the real world do not.

Shawneesmithjigsawtrap
Amanda Young, one of the many abuse victims who was blamed by her abuser for her own trauma.

I could go on about the horrific but quite realistic aspects of the long and winding Saw saga, but I don’t have all the time in the world, and the fact is, it may have handled some of them in a clumsy manner, but the series confronts many of the world’s injustices, and tells the story of many oppressed people through it’s long and bloody journey.

I’ve barely scratched the surface, and horror is a genre full of excellent commentary on the state of humanity, and what complacency to the issues of your fellow man can bring you, and while it is unfortunate that a lot of it is written off due to the storytelling devices used, it is my hope that in the future, horror will be taken as seriously as other genres, and the messages it contains will be given as much attention as other genres.

Besos,

J x



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