Horror Meets Oscar?
Let’s not forget that The Social Network isn’t the only upcoming film with a 100% Rotten Tomatoes rating. There’s also the more-or-less-perfect rating for Matt Reeves‘ Let Me In (Overture. 10.1), which is based on 12 film reviews (including Variety‘s Peter Debruge and the Hollywood Reporter‘s Michael Rechstaffen) so far.
“I would argue that Matt Reeves’ Let Me In is at least as good as Tomas Alfredson‘s Let The Right One In, which Reeves’ film is a remake of,” I wrote on 9.11.10. “I’m guessing that this view will be regarded as heresy in some quarters, particularly since there’s no denying that much of Let Me In feels like a scene-for-scene, and in some portions a shot-for-shot ‘copy’ rather than a remake.
“But it’s very carefully copied with a meticulous, unhurried, highly absorbing style, and there is a Reeves signature of sorts here and there.
“Hollywood remakes of European-made hits tend to not be as good — they needlessly gloss them up or water them down or otherwise miss the basic vitality. Let Me In doesn’t do this, in my view. It doesn’t diminish — it respects and pays tribute to the original by keeping what worked — adhering as closely as possible for the most part — and enhancing here and there.
“The truth? I liked it better than the original, in part because I’m a much bigger fan of Chloe Moretz‘s Abby (i.e., the little-girl vampire) than the young Swedish actress in Alfredson’s film. Moretz can do no wrong in my book. ‘Hit Girl’ and now this — she’s really got it.”
Honestly and truly and in every other emphatic “no, really, I’m serious” way, Let Me In should be one of the ten 2010 Best Picture nominees. It’s that good. If this happens, would Let Me In be the first horror film since The Exorcist to be Best Picture nominated? Would it be the first vampire flick ever to be so honored?
No, Silence of the Lambs was the last horror film to be nominated for and win Best Picture in 1991. It probably would be the first vampire flick, though.
The Silence of the Lambs was in no way a horror film. It was a penetrating psychological thriller by way of a police (i.e., FBI) procedural get-the-bad-guy plot.
So you say. I do have this from filmsite.org – it might spur on some debate:
Only one true ‘horror’ film has won Best Picture, The Silence of the Lambs (1991). Also, Hitchcock’s first US film and Best Picture winner Rebecca (1940) may be counted as the only suspense-thriller. [Best Picture nominees in this suspense-thriller genre have included Suspicion (1941), Gaslight (1944), Spellbound (1945), and The Sixth Sense (1999). The Exorcist (1973) was the only horror film to be nominated for Best Picture in Academy Award history – until 1991.
MORETZ POWER!
Hey, let’s not forget that CASE 39 is also opening, sure to be rocking a 100% on RT of its own come next Saturday. But seriously, is there some outside possibility that CASE 39 functions as some spoiler next weekend for two much better movies? Cooper and Zellwegger are bigger names that the generic moviegoer feels more “comfortable” with than anyone in TSN or Let Me In (unless there’s a big, underserved Elias Koteas market out there.) And it looks more generic and PG-13 and J-Horror and teen-girlish than Let Me In… Will part of the audience for both “good” movies split the difference and go see Zellwegger?
I have to side with cinefan. Slence is most certainly a horror film. AFI places it at 74 on its top horror movie list, Fangoria (which certainly knows from horror) places it at 28. To deny its place in the genre is quibbling and you would be on the wrong side of that quibble.
Although I do agree that Let Me In deserves a spot among the best picture noms. Without a doubt.
That’s okay. No problem. I really don’t mind. Those filmsite.org guys are just wrong. “Grisly” does not horror make. Just because Hannibal Lecter happened to have eaten portions of his victims doesn’t make it a horror film. Horror films are metaphorical nightmares about real-life issues (fears, social undercurrents, anxieties) that regular people deal with every day. The Silence of the Lambs was just a Nancy Drew, FBI Trainee thriller by way of a good-guys-try-to-catch-a-bad-guy movie in which the lead protagonist (Jodie Foster‘s Clarice Starling) develops a dark and strange emotional connection with Anthony Hopkins‘ predator-killer. This element strengthened and deepened what the film basically was at its core, but it was just psychological-emotional icing on the cake.
As good a remake as this might be, I find myself sort of rooting against it on principle. Or to put it another way, if I translated someone’s novel into English I would find it difficult to accept awards for it. But I guess as a Scandinavian I’m biased, since we’re sick of our movies being bland-ified in remakes (‘m looking at you, Insomnia). At least this appears to not be that.
I am throwing it out there, I don’t care…
That is a STRIKING image.
Yes, it was a horror film albeit blended in with the psychological thriller & crime procedural. Hopkins has stated that he was drawn to the character of Lector because the beauty & beast relationship with Starling. Compare how Michael Mann shoots Will Graham’s meeting with Lector in his cell versus Starling’s first visit with Lector by Demme. Manhunter’s version of Lector’s prison is cold, clinical & white with bars protecting Graham from Lector. Silence’s version has a castle dungeon feel to it with its rock walls and plexi glass room for Lector to pace. The glimpses of mutilation & violence are shot in a Goya like style especially the skinned crucifix body of the dead Memphis police officer during Lector’s escape. The musical score is a classical horror film score by Howard Shore (which still boggles my mind that it was not nominated for an Oscar). Lector is portrayed as this demon god of terror and horror…Silence has more in common with Frankenstein, Halloween (1978), Nightmare on Elm Street (1984) than a regular procedural picture.
I’m pretty dubious about this whole line of argument. Halloween, also, is a good-guys-try-to-catch-a-bad-guy movie in which the female protagonist has to overcome her own fears and anxieties to stop a powerful serial killer. What’s the difference between the two films? Both feature grisly and terrible violence and the main character in each experiences “a dark and strange emotional connection with a predator-killer”. I think you can make a pretty compelling case that Silence, Jaws, and Seven are all horror films.
JAWS is absolutely NOT a horror film. That’s one of the more annoying mischaracterizations in film history. It’s so GENTEEL, UPBEAT, GOOD-NATURED, a classic adventure movie with three guys on a boat bonding and chasing a shark while WHIMSICAL SEA SHANTIES play on the soundtrack.
It’s one of my favorite movies, don’t get me wrong, but I don’t watch JAWS then lie there in bed at night scared and trembling that the Grady twins are gonna appear in my closet or that Michael Myers’s mask is gonna peek in my window. Jaws = FUN FAMILY ACTION MOVIE.
Not only can you make a pretty compelling case, cinefan, the case has been made and the verdict delivered. Wells’ appeal is circumstantial, not substantive.
By cinefan and Hooper’s INCORRECT LOGIC, the first Dirty Harry movie is a “horror film.”
Wells is correct. Otherwise Along Came a Spider is a horror film. Kiss the Girls. General’s Daughter. Chill Factor. Bait. Ridiculous.
That might have been your reaction, Lex G, but, from what I understand, many people who saw the film when it first came out were scared as hell (I’m a little too young to have been around at the film’s release). I don’t think, however, a film has to be “scary” per se to be a horror film. I would classify Frankenstein and Psycho as horror films even though they’re not conventionally scary. Like Jaws, they both feature a monster at the center of their stories.
People were “scared” to go in beaches because there might be a shark. The movie itself is upbeat and sunny and actually LESS sinister than Raiders of the Lost Ark. It’s a boys’ adventure fishing story with HAPPY MUSIC, not some satanic Omen chanting and freaky eyes and shock imagery.
Jaws is about as much a “horror” movie as Lawrence of Arabia.
The metaphorical issues that Silence addresses: how do women survive/thrive in an alpha male dominated work environment, the male perspective on women (look at how many times Clarice is placed in a room full of men by herself), sexuality of women & transsexuals in society, male mentor/female student relationships, how can savagery & intelligence lie in both the human soul…I think that you have it reversed. The thriller & procedural are the window dressing & icing on the cake while the horror elements are the cake. It seems like that if Silence of Lambs is classified as horror that distinction makes it a lesser film. On the contrary, horror taps into the deeper emotional/primal issues that we have as a human race and can be as great as any genre if done right and well.
Also: Look at the little MORETZ POWER! CUUUUUUTE!
A Johansson-in-waiting.
“It’s a boys’ adventure fishing story with HAPPY MUSIC”
Are you talking about the Jaws’ theme? If that’s your idea of happy music, you need to get out more, dude, and go to some concerts.
All anyone remembers is the two-note Jaws theme, but 99% of that movie’s soundtrack is this bouncy, goofy, upbeat FAREWELL AND ADIEU TO YOU FAIR SPANISH LADIES *whimsy.* I’ve seen the movie over 200 times, I think maybe it’s you who needs to give it another watch if you think it’s all just the DUH-DUH… DUH-DUHH track.
you’re right, I guess I do need to see the film another 150 times to appreciate the nuances of the soundtrack.
@LexG,
I’m wondering what exactly you consider to be my incorrect logic? Seriously, tell me what I wrote that is incorrect logic? It’s not like I argued Dirty Harry was on the AFI or Fangoria horror film lists (and I have no idea how you mad that leap).
As for Jaws. Sure, it’s a light happy guys’ fishing adventure with a sunny score, except for the unforgettable part when the shark’s about chomping on people. Whether you were scared watching it is irrelevant. Whether anyone was actually scared while watching it is irrelevant. Jaws is one of the few true horror films that makes people scared long after they’ve left the theatre. It’s given people second thoughts about going swimming and made monsters of sharks. It doesn’t matter if the package that delivered that was wrapped in a fishing adventure with a lighthearted score (most of the time) and humour and that it didn’t make you scared to watch it.
Lex is right, Jaws is a complete adventure movie, and the music is mostly joyful and FUN.
I couldn’t have said it better myself, Mr. Hooper.
“That is a STRIKING image”
It is LexG. And all the more so on account of Moretz having borrowed Matt Damon’s eyeballs from off of the Hereafter poster.
Not to change topic or anything but any news on when Jaws is coming to Blu-Ray? Definitely one of the top films that I most want to have on Blu-Ray.
JAWS isn’t scary and never was. This is absurd. Jaws is an ACTION ADVENTURE movie. Oh yeah I’m terrified, Brody and Hooper are arguing about SCALE by the barrels while the bounciest classical type music ever is playing.
From the one-hour mark on, Jaws is one of the most pleasant and summery and GOOD-NATURED movies ever made. I am repeating myself by now, but NOTHING about the shark is scary or ever was.
I think we’re wasting our time, Mr. Hooper. We’re not going to convince him it’s a horror film and he sure as hell isn’t ever going to convince me it isn’t.
In other news, I’d be an awesome COOL UNCLE to Moretzy and Elle Fanning if we could go on a ROAD TRIP doing CON GAMES on people like in PAPER MOON and I could teach them how to be awesome.
PAPER MOON 2 MAKE IT HAPPEN. Would be DELIGHTFUL.
I was championing Let The Right One In for Best Picture when it came out. It’s awesome. So if this is truly a nearly shot-for-shot remake, then I’m all for it.
And yet… that spoilery “sexuality” of the vampire character… everything I’ve heard suggests the American version eliminates this, easily the most compelling aspect of the original film. How can this improve on the earlier film without that plot turn? They hewed to the original with the exception of the most fascinating aspect? I’ve have “Insomnia remake” expectations of this since it was first announced, and that won’t subside until I know that element is preserved, or replaced with an equally knotty, unpredictable idea.
We can argue semantics all we want, but Silence of the Lambs was absolutely treated as and discussed as a horror film when it was released in Feb, 1991. Audiences were terrified of the picture, and Anthony Hopkins ended up on the cover of Entertainment Weekly as ‘the scariest man in America’. Arguing that it’s not horror because it’s not supernatural also discounts some of the very best episodes of The X-Files (try telling someone that ‘Irresistible’ and ‘Home” aren’t a horror episodes).
As for Jaws, the first half is horror, the second half is an adventure story of three hunters on a boat.
And yes, Let Me in is one of the ten best American films I’ve seen this year. But sadly, for the general audience moviegoer who just wants a night out at the movies, Case 39 arguably looks a lot more appealing/less challenging. Won’t be surprised if it creams the artier, more thoughtful horror film this week.
I’m sorry, but LET ME IN has one huge, HUGE problem that no-one is discussing (and one I’m frequently forgiving of in other movies): The horror effects look DUMB. Like, really bad. After everyone ripped on Twilight for Edward’s super-speed tree-climbing, Reeves does almost the exact same thing. Having Chloe suddenly hit super-speed any time she does something vampirish is laughable, perhaps because it reminds me of Hit Girl, but I think mostly because it looks digital as hell.
It’s a shame, because the acting and art direction are great. Shoulda gone to Howard Berger and Greg Nicotero for FX, though, instead of the no-names they got.
@cinefan,
Agreed.
@Gabe,
SPOILER ALERT
The sexuality element is missing from the remake and I didn’t miss it. I think too much was made of that “twist” in the original. It adds little to the story and its absence is only felt if you’ve seen the original or read the book. Granted, a little more on the relationship between the vampire and her elder companion would’ve given the film a bit more of a punch.
The entire thread reminds me of Shimmer.
It’s a floor wax… AND a dessert topping!
Movies like Jaws and Lambs transcend genres, folks. That’s what makes them classics.
I can’t wait to see this next weekend! It really looks to have done the original justice.
Yeah, why can’t films like LAMBS qualify as both? Hell, that climax with Starling in the basement with the lights out, with the audience looking at her through the same night vision goggles as Buffalo Bill, is straight up HALLOWEEN.
We all agree that ALIEN is a horror movie though, right?
And Lex, if something has to actually be “scary” to be a Horror film, does that mean almost all horror films should be re-categorized because they aren’t actually frightening? Is CHUCKY now a drama because I’m not afraid of dolls that have been possessed?
To paraphrase the great Claude Bessy (Kickboy Face) from The Decline of Western Civilization, there is no such thing as a pychological thriller. It’s the polite thing to say when you like a film and don’t want to say horror because if you do you’re afraid they’ll kick you out of the party and not give you coke anymore. There are slasher films, monster movies, ghost stories — but psychological thriller doesn’t mean shit.
THE SILENCE OF THE LAMBS is a perfect film. Its the GODFATHER, the 2001, the KANE of its genre & I think its every bit the equal of those films. The acting uniformly is excellent, the editing is seamless, the score is haunting, the source music used is exact, the camera work is fascinating, the art direction is meticulously detailed, the story is horrifying… there’s nothing weak about it, and its only technological advances that have dated it in any way.
Classify it horror, police procedural, drama, suspense… whatever. Its one of the greatest films ever made.
…
No one’s gonna jump on this?
Okay, fine…
“Jaws” is a MONSTER MOVIE – which are generally located somewhere between horror (re: “omigod the hell is that!!??”) and action/adventure (re: “let’s go get it!” or “lets get the hell away from it!”)
Also, “Silence” is not a horror movie because Hopkins eats people and cuts a guys’ face off – it’s a horror movie because when he does those things it’s meant to HORRIFY us. “Horror” is very easy to classify – if the movie does what it does primarily to “horrify” the audience, it’s horror. 90% of horror films are ALSO suspense/thrillers because that “helps” the intended reaction, but it doesn’t mean that, say, “Evil Dead” ISN’T horror just because it’s a “horror-comedy.”
Psycho, Se7en, ALL the original Universal Monsters, etc are horror movies, also.
Well, if we’re looking for a shark we’re not gonna find him on the land.
We can argue semantics all we want, but Silence of the Lambs was absolutely treated as and discussed as a horror film when it was released in Feb, 1991. Audiences were terrified of the picture, and Anthony Hopkins ended up on the cover of Entertainment Weekly as ‘the scariest man in America’. Arguing that it’s not horror because it’s not supernatural also discounts some of the very best episodes of The X-Files (try telling someone that ‘Irresistible’ and ‘Home” aren’t a horror episodes).
As for Jaws, the first half is horror, the second half is an adventure story of three hunters on a boat.
And yes, Let Me in is one of the ten best American films I’ve seen this year. But sadly, for the general audience moviegoer who just wants a night out at the movies, Case 39 arguably looks a lot more appealing/less challenging. Won’t be surprised if it creams the artier, more thoughtful horror film this week.
Sorry to join the pile on, Lex, but Jaws IS a horror movie, plain and simple. Yes, it becomes more of a lighthearted adventure in the second half, but the tension never wavers and Spielberg is not afraid to take it dark LIKE THAT at any point – think about the scene when Quint is talking about the Indianapolis. That is about as classic a horror movie monologue as I can think of.
And when Quint dies – getting eaten alive, blood spurting out his mouth, and screaming for help……Spielberg did not flinch at all from making that brutal and twisting the screws.
And yes, you make a good point about Raiders – it’s a much darker film than any one cares to remember, especially all of this revisionism about how it was the “light” film followed up by Temple of Doom, which is supposed to be darker.
Bullshit – Raiders never pulls its punches. For a huge chunk of screentime, you think Marion is dead, Alfred Molina buys it pretty brutally, and the climax with the Nazis getting the wrath of god? Tough stuff – it’s hard to remember way back then (and I do love Munich), but there was a time when Spielberg, as much of a pure entertainer he was, had some real balls on him. It’s no accident that he was hanging with Coppola and Scorcese – they made the harder R films, but Spielberg loved his violence, too.
All those brutal action and horror sequences from the early Spielberg films have a barely hidden laughtrack… it’s the sound of a young man’s pleasure in going too far. I think he and De Palma had a lot in common back then.
In contrast, Spielberg’s recent work in something like the opening half-hour of War of the Worlds is completely humorless… great filmmaking (I think some of his best) but totally terrifying.
When something scary happens in Jaws, you scream, then laugh. When the men and women of New Jersey are turned to dust in War of the Worlds with those Martian war-machines bellowing that unholy metallic sound, it’s a horrifying, oppressive, hopeless feeling… no laughing here, you just scream and scream again.
I associate the horror genre with supernatural and fantastical elements (vampires, werewolves, ghosts, etc.). They’re “horror” because normal human being are powerless against those elements. Silence was horrifying but not a horror film per se. And Jaws was a suspense thriller.
I don’t set a fancy table, but the kitchen’s awful homey.
Well, if we’re looking for a shark we’re not gonna find him on the land.
You are if you’re Laraine Newman.
Candygram!
So….this would be the second supernatural horror film to be nominated for Best Picture? (Unless you got scared by the thing in Elliot’s garden shed. I know plenty of kids that were.)
Nuts. Horror films are distinguished by their supernatural elements, the inclusion of which are meant to provoke fright, not by scariness alone. You might get scared by scenes in Lord of the Rings: is it three horror films? Of course not. I’m solidly with Jeff on this one. As for Jaws, let’s just say the argument jumped the shark on that one. Somebody wake up Melville and congratulate him on that Moby Dick horror novel.
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