Revenge of the Cheerleaders, filmed in 1974 and released in 1976, is evocative of a time that was considerably looser and freer than today. For one thing, there was far less of a negative stigma against the portrayal of sex/nudity in film. In fact, many popular film genres of that time included such depictions. There was also…
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40 years later, ‘The Slumber Party Massacre’ is a still a surprisingly progressive, feminist entry in the slasher genre.
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A young boy named Shine (Juan Ramon Lopez) stands in an alleyway, spray-painting a tiger on the walls. The black paint drips fresh as a narrator tells the story of a prince. This month’s highlighted film on Shudder for Women in Horror is Tigers Are Not Afraid (Vuelven) (2017), written and directed by Issa Lopez. It’s a story about five Mexican children whose lives have been devastated by the ongoing drug war. When Estrella’s (Paola Lara) teacher gives her three magic pieces of chalk that grant her three wishes, the children’s lives drastically change into a game of cat and mouse.
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What honestly makes this film whole is the writing, because it incorporates all the elements needed to tell a complete story.
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But this column is dedicated to Women in Horror, so although those famous lines are cool, we here think there’s something more worth mentioning. We want to raise the bar. We want to set our sights on unmarked territory and talk about the unsung quotes of horror’s favorite scream queens. The horror genre is too often left out of film conversations, and women in horror are even less talked about. As you know, the writers of this column are over that BS, and we spend our time trying to highlight the badass women who have conquered this genre. Honoring the best scream queen quotes is just the next stop on this highway to hell!
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Here at the Women in Horror column of Flip Screen, we honor all of the women of the horror genre. The Nightmare Before Christmas is an animated Halloween film with children’s nightmares inspiring its characters, thus making Sally a woman in horror. She literally lives in a world that thrives off of terror. But one could argue that The Nightmare Before Christmas is also a Christmas movie. It captures the whimsical nature and themes of the holiday so perfectly, so it makes sense. Christmas is just as much a part of this film as is Halloween, so what a perfect film to talk about in December’s piece of this column.
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Four weeks down, one to go! In the penultimate week of the 31 Days of Horror challenge, I decided to focus on films that have been sitting in my watchlist for far too long. Though I found some films to be disappointing, there were some gems hidden in the pile, making for a great week of horror films.
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Every awards season, Scream Queens are snubbed with little-to-no recognition. It isn’t until years later, when their films have reached “legendary” status, that you begin to hear things like, “She was the best,” “There’s no other like her,” and whatnot. Well we here at Flip Screen, do not want to wait until the page has turned to honor these amazing Women in Horror. That is what this column is all about. So, we decided to put together a Scream Queen Awards to give recognition to the many powerful performances that have graced the horror genre.
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Every Tuesday, I’ll share mini reviews of each movie from the past week and at the end of the month, I’ll rank them all. Since there are so many movies, I will share one pro, one con, my star rating, and a few sentences of my thoughts. By the end of the month, we’ll have a stockpile of quick reviews to help you pick a scary flick to watch yourself.
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Since its initial release, Drag Me to Hell has received critical and commercial success. It showed the same scary, campy horror brilliance that Raimi demonstrated with The Evil Dead decades before. What also makes Raimi’s Drag Me to Hell so amazing is the subtext of shame. Whether he intended to or not, his film is saturated with associations of a woman’s shame. For this month’s Women in Horror, we want to take a deep dive into this subtext and dissect Raimi’s subtle nuances to convince you that this film is truly about a woman’s shame and how it is these insecurities that lay her literal path to hell.
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