The Innocents
What’s so stunning about this dark Norwegian take on children with superpowers is how mature the film treats its subjects. There’s never a desire to water-down dire consequences because wee younglings are in charge. If anything, the screenplay amplifies concepts around children not understanding the harm they can cause and how quickly some are forced to grow up. It’s a playground metaphor for unchecked aggression and the corruption of unlimited powers. Kids start levitating rocks and realizing they’re far more special than their parents ever imagined — both a blessing and a curse. Horror elements interfere when one child uses his abilities in hurtful ways, as the other powered children wonder how to stop his rein of terror. It’s an impactful film about choices and how quickly humans succumb to their worst impulses, made immensely more impactful given the age of all players involved.
Watcher
Chloe Okuno’s feature debut needs nothing more than a woman abroad and the man whose eyes are always locked on said woman’s figure. It’s highlighting horrors of the outside world, as society repeatedly tells women they’re perfectly safe and to stop overreacting, right before another innocent life is taken by some dude who stalked another innocent soul home late one night.
Maika Monroe stars as the American wife of a businessman who relocates to Bucharest, Romania. Even without Burn Gorman’s insidious neighbor who ends up being the “Watcher,” Okuno does well to accentuate the loneliness of a partner doing right by their spouse through sacrifice and discomfort. Then the social commentary and voyeuristic unrest take over as both Maika and Burn do their best on the respective sides of an invasive, grossly vulnerable stalker scenario that uses reality as the utmost impetus for horror cinema. Why create imaginary monsters when our lives are filled with real ones?
Offseason
Mickey Keating’s Offseason— is the filmmaker’s ode to coastal Lovecraftian horror with essences of soggy thrillers like The Fog. Keating loves honoring his idols throughout his films, each feeling like a student wants to make his teachers proud. Offseason is his championing of waterlogged themes and unexplained mysteries, feeling almost like a radio drama you’d expect to hear read aloud by hosts through adjustable static. Indie horror fans will recognize strong performances from Jocelin Donahue, Richard Brake, Jeremy Gardner, and more. The film can become a bit airy as scenes seem to flow into one another on mere whims, which will be a make-or-break sensation. Offseason is all about the experience, driving tension and suspense like a weather-influenced ghost story. As long as you don’t mind being a sightseeing passenger, you’ll be fine.
X
Performances across the board help make X so memorable. It’s Jenna Ortega’s year in horror without any question, but she’s only one piece to X’s blood-splattered puzzle. Brittany Snow, Kid Cudi, Mia Goth, and more play above-and-beyond parts as pornographers trying to elevate their medium. West has loads of fun comparing horror to pornography in terms of public perception, while characters are granted agency beyond easy stereotypes. What’s not to like about a sex-positive slasher that swings a big ego and delivers as promised?
