Skip to main content

The Void (2016) Is All Those Creature, Gore, & Cult Scary Movies You Love

A small town patrol officer finds a mysterious man wounded on the road at night and gets him to the local hospital. What follows that man leads to a night of carnage and the unfolding of a bigger mystery.

Written and directed by Jeremy Gillespie & Steven Kostanski

When I say small town, I mean so small that when Officer Daniel (Aaron Poole) finds the bloody and scared James (Even Stern) on the side of the road, it's much more of a time saver just put him in the car and take him to the hospital himself where maybe only four people seem to work. It's all very Halloween 2 in that dreaded sense so when the shit hits the proverbial fan, it is notably scary yet for horror fans, an additional delight full of nods to horror cinema with monstrosities of the past while still feeling like a fresh story.

Themes of loss and heartbreak never age. They are some of our true horrors and embedded neurosis as human beings. Each character in this narrative feels it in real time, stratching old wounds until they bleed while trying to stay alive against forces that are natural and a bit supernatural. It all bears this "beauty in the profane" approach when occulty hooded people show up to give the story its base and meaning. The Void has a simple philosophy that is dangerously potent. Or could it be described more accurately as fearless?

The Void progresses and pushes the limit in its running time to make use of personal tragedy, insecurity, what-the-hell-was-that, also tons of gore and effects that aren't disappointments. I can't promise that it will all come together and make sense after one viewing. The rewatchability factor is, I'm happy to report, extremely high because the plot can be intriguingly convoluted towards the climax but it is a fun ride.

Popular posts from this blog

How MIDSOMMAR Utilizes and Subverts Horror Movie Tropes of People of Color

By Mary Kay McBrayer (@mkmcbrayer)

For a film that could have been easily white-washed, Ari Aster’s Midsommar does have an inclusive cast. Before our characters are even taken to Sweden where most of the film's dread fueled action takes place, we meet them in their college town. Dani (Florence Pugh) stresses about her sister’s scary email while her boyfriend, Christian (Jack Reynor) drinks at a bar with his buddies, only one of whom is black named Josh (The Good Place's William Jackson Harper).
I have watched enough horror movies to know—and I’ve been brown enough long enough to know—that this setting does not bode well for a person of color. The token minority, say it with me, tends to die first. Because of this ratio, I expected a few other established tropes of the horror genre in Josh’s character, too, and I have to admit, I was delighted and surprised that nothing played out the way I expected.

DARKLY: At The Heart Of Goth, Is Blackness

"Horror has always been used to illuminate cultural anxieties and gives a voice to our collective fears. So, what to make of the gothic in America, a place which by the very nature of its founding is predisposed to a culture of anxiety? The dread knowing the enemy at the gate is understandable, but in America the enemy has already passed through it, and has been brought inside. The call is coming from inside the house."
-words by Leila Taylor