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Facebook's Dangerous Experiment on Teen Girls – The Atlantic

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Social media gets blamed for many of America’s ills, including the polarization of our politics and the erosion of truth itself. But proving that harms have occurred to all of society is hard. Far easier to show is the damage to a specific class of people: adolescent girls, whose rates of depression, anxiety, and self-injury surged in the early 2010s, as social-media platforms proliferated and expanded. Much more than for boys, adolescence typically heightens girls’ self-consciousness about their changing body and amplifies insecurities about where they fit in their social network. Social media—particularly Instagram, which displaces other forms of interaction among teens, puts the size of their friend group on public display, and subjects their physical appearance to the hard metrics of likes and comment counts—takes the worst parts of middle school and glossy women’s magazines and intensifies them.

One major question, though, is how much proof parents, regulators, and legislators need before intervening to protect vulnerable young people. If Americans do nothing until researchers can show beyond a reasonable doubt that Instagram and its owner, Facebook (which now calls itself Meta), are hurting teen girls, these platforms might never be held accountable and the harm could continue indefinitely. The preponderance of the evidence now available is disturbing enough to warrant action.

Facebook has dominated the social-media world for nearly a decade and a half. Its flagship product supplanted earlier platforms and quickly became ubiquitous in schools and American life more broadly. When it bought its emerging rival Instagram in 2012, Facebook didn’t take a healthy platform and turn it toxic. Mark Zuckerberg’s company actually made few major changes in its first years of owning the photo-sharing app, whose users have always skewed younger and more female. The toxicity comes from the very nature of a platform that girls use to post photographs of themselves and await the public judgments of others.

The available evidence suggests that Facebook’s products have probably harmed millions of girls. If public officials want to make that case, it could go like this:

1. Harm to teens is occurring on a massive scale.

For several years, Jean Twenge, the author of iGen, and I have been collecting the academic research on the relationship between teen mental health and social media. Something terrible has happened to Gen Z, the generation born after 1996. Rates of teen depression and anxiety have gone up and down over time, but it is rare to find an “elbow” in these data sets––a substantial and sustained change occurring within just two or three years. Yet when we look at what happened to American teens in the early 2010s, we see many such turning points, usually sharper for girls. The data for adolescent depression are noteworthy:

A graph of the percentage of Americans age 12-17 who had at least one major depressive episode in the past year.

Some have argued that these increases reflect nothing more than Gen Z’s increased willingness to disclose their mental-health problems. But researchers have found corresponding increases in measurable behaviors such as suicide (for both sexes), and emergency-department admissions for self-harm (for girls only). From 2010 to 2014, rates of hospital admission for self-harm did not increase at all for women in their early 20s, or for boys or young men, but they doubled for girls ages 10 to 14.

Similar increases occurred at the same time for girls in Canada for mood disorders and for self-harm. Girls in the U.K. also experienced very large increases in anxiety, depression, and self-harm (with much smaller increases for boys).

2. The timing points to social media.

National surveys of American high-school students show that only about 63 percent reported using a “social networking site” on a daily basis back in 2010. But as smartphone ownership increased, access became easier and visits became more frequent. By 2014, 80 percent of high-school students said they used a social-media platform on a daily basis, and 24 percent said that they were online “almost constantly.” Of course, teens had long been texting each other, but from 2010 to 2014, high-school students moved much more of their lives onto social-media platforms. Notably, girls became much heavier users of the new visually oriented platforms, primarily Instagram (which by 2013 had more than 100 million users), followed by Snapchat, Pinterest, and Tumblr.

Boys are glued to their screens as well, but they aren’t using social media as much; they spend far more time playing video games. When a boy steps away from the console, he does not spend the next few hours worrying about what other players are saying about him. Instagram, in contrast, can loom in a girl’s mind even when the app is not open, driving hours of obsessive thought, worry, and shame.

3. The victims point to Instagram.

The evidence is not just circumstantial; we also have eyewitness testimony. In 2017, British researchers asked 1,500 teens to rate how each of the major social-media platforms affected them on certain well-being measures, including anxiety, loneliness, body image, and sleep. Instagram scored as the most harmful, followed by Snapchat and then Facebook. Facebook’s own research, leaked by the whistleblower Frances Haugen, has a similar finding: “Teens blame Instagram for increases in the rate of anxiety and depression … This reaction was unprompted and consistent across all groups.” The researchers also noted that “social comparison is worse” on Instagram than on rival apps. Snapchat’s filters “keep the focus on the face,” whereas Instagram “focuses heavily on the body and lifestyle.” A recent experiment confirmed these observations: Young women were randomly assigned to use Instagram, use Facebook, or play a simple video game for seven minutes. The researchers found that “those who used Instagram, but not Facebook, showed decreased body satisfaction, decreased positive affect, and increased negative affect.”

4. No other suspect is equally plausible.

Many things changed in the early 2010s. Some have suggested that the cause of worsening mental health could be the economic insecurity that followed the 2008 global financial crisis. But why this would hit younger teen girls the hardest is unclear. Besides, the American economy improved steadily in the years after 2011, while teen mental health deteriorated steadily. Some have suggested that the 9/11 attacks, school shootings, or other news events turned young Americans into “generation disaster.” But why, then, do similar trends exist among girls in Canada and the U.K.? Not all countries show obvious increases in mood disorders, perhaps because technological changes interact with cultural variables, but the societies most like ours (including Australia and New Zealand) exhibit much the same patterns.

Correlation does not prove causation, but nobody has yet found an alternative explanation for the massive, sudden, gendered, multinational deterioration of teen mental health during the period in question.

To be sure, there is evidence on the other side. Dozens of studies and several meta-analyses (studies of groups of studies) have examined the relationship between greater digital-media use and worse teen mental health, and most have found just small correlations, or none at all. The most widely cited of these studies, published in 2019, analyzed 355,000 teens across three large data sets from the U.S. and U.K. The authors found only a tiny correlation—no larger than the correlation of bad mental health with self-reports of “eating potatoes.” Facebook cites this research in its defense.

But here’s the problem with these studies: Most lump all screen-based activities together (including those that are harmless, such as watching movies or texting with friends), and most lump boys and girls together. Such studies cannot be used to evaluate the more specific hypothesis that Instagram is harmful to girls. It’s like trying to prove that Saturn has rings when all you have is a dozen blurry photos of the entire night sky.

But as the resolution of the pictures increases, the rings appear. The subset of studies that allow researchers to isolate social media, and Instagram in particular, show a much stronger relationship with poor mental health. The same goes for those that zoom in on girls rather than all teens. Girls who use social media heavily are about two or three times more likely to say that they are depressed than girls who use it lightly or not at all. (For boys the same is true, but the relationship is smaller). Most of the experiments that randomly assign people to reduce or give up social media for a week or more show a mentalhealth benefit, indicating that social media is a cause, not just a correlate.

Facebook would have you believe that merely cutting back the time that teens spend on social media will solve any problems it creates. In a 2019 internal essay, Andrew Bosworth, a longtime company executive, wrote:

While Facebook may not be nicotine I think it is probably like sugar. Sugar is delicious and for most of us there is a special place for it in our lives. But like all things it benefits from moderation.

Bosworth was proposing what medical researchers call a “dose-response relationship.” Sugar, salt, alcohol, and many other substances that are dangerous in large doses are harmless in small ones. This framing also implies that any health problems caused by social media result from the user’s lack of self-control. That’s exactly what Bosworth concluded: “Each of us must take responsibility for ourselves.” The dose-response frame also points to cheap solutions that pose no threat to its business model. The company can simply offer more tools to help Instagram and Facebook users limit their consumption.

But social-media platforms are not like sugar. They don’t just affect the individuals who overindulge. Rather, when teens went from texting their close friends on flip phones in 2010 to posting carefully curated photographs and awaiting comments and likes by 2014, the change rewired everyone’s social life.

Improvements in technology generally help friends connect, but the move onto social-media platforms also made it easier—indeed, almost obligatory––for users to perform for one another.

Public performance is risky. Private conversation is far more playful. A bad joke or poorly chosen word among friends elicits groans, or perhaps a rebuke and a chance to apologize. Getting repeated feedback in a low-stakes environment is one of the main ways that play builds social skills, physical skills, and the ability to properly judge risk. Play also strengthens friendships.

When girls started spending hours each day on Instagram, they lost many of the benefits of play. (Boys lost less, and may even have gained, when they took up multiplayer fantasy games, especially those that put them into teams.) The wrong photo can lead to school-wide or even national infamy, cyberbullying from strangers, and a permanent scarlet letter. Performative social media also puts girls into a trap: Those who choose not to play the game are cut off from their classmates. Instagram and more recently TikTok have become wired into the way teens interact, much as the telephone became essential to past generations.

Facebook’s researchers understand the implications of this rewiring. In one slide from an internal presentation on Instagram’s mental-health effects, the presenter notes that “parents can’t understand and don’t know how to help.” The slide explains: “Today’s parents came of age in a time before smartphones and social media, but social media has fundamentally changed the landscape of adolescence.”

Social-media platforms were not initially designed for children, but children have nevertheless been the subject of a gigantic national experiment testing the effects of those platforms. Without a proper control group, we can’t be certain that the experiment has been a catastrophic failure, but it probably has been. Until someone comes up with a more plausible explanation for what has happened to Gen Z girls, the most prudent course of action for regulators, legislators, and parents is to take steps to mitigate the harm. Here are three:

First, Congress should pass legislation compelling Facebook, Instagram, and all other social-media platforms to allow academic researchers access to their data. One such bill is the Platform Transparency and Accountability Act, proposed by the Stanford University researcher Nate Persily.

Second, Congress should toughen the 1998 Children’s Online Privacy Protection Act. An early version of the legislation proposed 16 as the age at which children should legally be allowed to give away their data and their privacy. Unfortunately, e-commerce companies lobbied successfully to have the age of “internet adulthood” set instead at 13. Now, more than two decades later, today’s 13-year-olds are not doing well. Federal law is outdated and inadequate. The age should be raised. More power should be given to parents, less to companies.

Third, while Americans wait for lawmakers to act, parents can work with local schools to establish a norm: Delay entry to Instagram and other social platforms until high school.

Right now, families are trapped. I have heard many parents say that they don’t want their children on Instagram, but they allow them to lie about their age and open accounts because, well, that’s what everyone else has done. Dismantling such traps takes coordinated action, and the principals of local elementary and middle schools are well placed to initiate that coordination.

Haugen’s revelations have brought America to a decision point. If public officials do nothing, the current experiment will keep running—to Facebook’s benefit and teen girls’ detriment. The preponderance of the evidence is damning. Instead of waiting for certainty and letting Facebook off the hook again, we should hold it and other social-media companies accountable. They must change their platforms and their ways.

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Bayo Onanuga battles yet another media – Punch Newspapers

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Bayo Onanuga battles yet another media  Punch Newspapers

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Blood In The Snow Film Festival Celebrates 13 Years!

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Blood in the Snow FILM FESTIVAL

Celebrates

13 YEARS

Be Afraid.  Be Very Afraid”

Toronto, on – Blood in the Snow Film Festival (BITS), a unique and imaginative showcase of contemporary Canadian genre films are pleased to announce the popular Festival is back for its 13th exciting year.  The highly anticipated Horror Film festival presented by Super Channel runs November 18th– 23rd at Toronto’s Isabel Bader Theatre  The successful, long running festival takes on many different faces this year that include Scary, Action Horror, Horror Comedy, Sci-Fi and Thrillers.  Festival goers will be kept on the edge of their seats with this year’s powerful line-up.

Blood in the Snow Festival begins with the return of alumni (Wolf Cop) Lowell Deans action horror feature Dark Match featuring wrestling veteran Chris Jericho followed by the mysterious Hunting Mathew Nichols. The unexpected thrills continue with Blood in the Snow World Premiere of Pins and Needles and the Fantasia Best First Feature Award winner, Self Driver.  The festival ends this year on a fun note with the Toronto Premiere of Scared Sh*tless (featuring Kids in the Halls Mark McKinney).  Other titles include the horror anthology series Creepy Bits and Zoom call shock of Invited by Blood in the Snow alumni Navin Ramaswaran (Poor Agnes). The festival will also include five feature length short film programs including the festivals comedy horror program Funny Frights and Unusual Sights and the highly anticipated Dark Visions program, part of opening night festivities.  Blood in the Snow Film Festival Director and Founder, Kelly Michael Stewart anticipates this year’s festival to be its strongest.  This was the first time in our 13 year history, all our programmers agreed on the exact same eight feature programs we have selected.”

Below is this year’s horror fest’s exciting lineup of features and shorts scheduled to screen, in-person at the Isabel Bader theatre. 

**All festival features will be preceded by a short film and followed by a Q&A with filmmakers.

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased  https://www.bloodinthesnow.ca

Super Channel is pleased to once again assume the role of Presenting Sponsor for the Blood in the Snow Film Festival. We extend our sincere appreciation to the entire BITS team for their unwavering commitment to amplifying the voices of diverse filmmakers and providing a platform for the celebration of Canadian genre content. – Don McDonald, the CEO of Super Channel

Blood in the Snow Festival 2024 Full screening schedule:

Monday November 18th
7pm – Dark Visions

Shiva (13:29) dir. Josh Saltzman

Shiva is an unnerving tale about a recently widowed woman who breaks with a long-held Jewish mourning ritual in hopes of connecting with her deceased husband.

How to Stay Awake (5:30) dir. Vanessa Magic

A woman fights to stay awake, to avoid battling the terrifying realm of sleep paralysis, but as she risks everything to break free, will she be released from the grip of her nocturnal tormentor?

Pocket Princess (9:45) dir. Olivia Loccisano

A young girl must take part in a dangerous task in order to complete her doll collection in this miniature fairytale.

For Rent (10:33) dir. Michèle Kaye

In her new home, Donna unravels a sinister truth—her landlord is a demon with a dark appetite. As her family mysteriously vanishes, Donna confronts the demonic landlord, only to plunge into a shadowy game where the house hungers for more than just occupants. An ominous cycle begins, shrouded in mystery.

Lucys Birthday (9:29) dir. Peter Sreckovic

A father struggles to enjoy his young daughter’s birthday despite a series of strange and disturbing disruptions.

Parasitic (10:00) dir. Ryan M Andrews

Last call at a dive bar, a writer struggling to find his voice gets more than he bargains for.

 Naualli (6:00) dir. Adrian Gonzalez de la Pena

A grieving man seeks revenge, unwittingly awakening a mystical creature known as the Nagual.

The Saint and The Bear (6:34) dir. Dallas R Soonias

Two strangers cross paths on an ominous park bench.

The Sorrow (13:00) dir. Thomas Affolter

A retired army general and his live-in nurse find they are not alone in a house filled with dark secrets.

Cadabra (6:00) dir. Tiffany Wice

An amateur magician receives more than he anticipated when he purchases a cursed hat from the estate of his deceased hero.

9:30 – Dark Match dir. Lowell Dean Horror / Action

A small time WRESTLING COMPANY accepts a well-paying but too good to be true gig.

 

Tuesday November 19th
7pm – Mournful Mediums

Night Lab (15:00) dir. Andrew Ellinas

When a mysterious package arrives from one of the lab’s field research stations, a promising young researcher uncovers a conspiracy against her masterminded by her jealous boss. She soon finds herself having to grapple with her conscience before making a life-or-death decision.

Dirty Bad Wrong (14:40) dir. Erica Orofino

Desperate to keep her promise to host the best superhero party for her 6-year-old, young mother Sid, a sex worker, takes extreme measures and books a last-minute client with a dark fetish.

Midnight at the lonely river (17:00) dir. Abraham Cote

When the lights go out at a seedy little motel bar, at the crossroads of a seedy little town, nefarious happenings are taking place, and three predators are enacting their evil deeds. Enter Vicky, a drifter who quickly realizes whats happening right under everyones nose. After midnight, In the shadows of this dim establishment, evil begets evil, and the predator becomes the prey.

Mean Ends (14:58) dir. Émile Lavoie

A buried body, a missing sister and an inquisitive neighbour makes for a hell of an evening. And the sun isnt close to settling on Erics sh*tty day.

Stuffy (18:26) dir. Dan Nicholls

A young couple sets off in the middle of the night to bury their kid’s stuffed bunny, as one of them is convinced that the stuffy might be cursed.

Dungeon of Death (18:33) dir. Brian P. Rowe

Torturer Raullin loves a work challenge, especially if that challenge involves hurting people to extract information from them.

9:30 – Hunting Matthew Nichols (96 mins) dir. Markian Tarasiuk

Twenty-three years after her brother mysteriously disappeared, a documentary filmmaker sets out to solve his missing person’s case. But when a disturbing piece of evidence is revealed, she comes to believe that her brother might still be alive.

w/ short: Josephine (6:15) dir. John Francis Bregar

A man haunted by his past seeks forgiveness from his deceased wife, but a session with two spirit mediums leads to an unsettling encounter.

Wednesday November 20th
7pm – BITS and BYTES

Ezra (10:57) dirs. Luke Hutchie, Mike Mildon, Marianna Phung

After fleeing the dark and demonic chains of his shadowy old home, Ezra, a killer gay vampire, takes a leap of faith and enters the modern world.

Head Shop (18:14 episode 1-3) dir. Namaï Kham Po

In a post-apocalyptic world, Annas life and work are dominated by her father Sylvestre, a short-tempered mechanic with a terrible reputation for tearing the head off anyone who dares cross him. He decides that shes old enough to follow in his footsteps, much to her dismay. To prove herself, she must now decapitate her first victim. Can she find a way to defy fate?

D dot H (18 :15 episodes 1-2) dirs. Meegwun Fairbrother, Mary Galloway

Struggling artist Doug is visited by the beautiful and enigmatic H, who claims he holds the power to visiting inconceivable places.” Still half-asleep, Doug is shocked when H vanishes suddenly and her doppelganger, Hannah, strides past.

Creepy Bits: Last Sonata (21:08) dir.

Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

Set among forests, lakes, and small towns, Creepy Bits is a horror anthology series helmed by five innovative filmmakers exploring themes of human vs. nature, the invasion and destruction of the natural world by outsiders, and isolation within a vast, eerie landscape that is not afraid to fight back.

Tales from the Void: Whistle in the Woods” (24:36) dir. Francesco Loschiavo

Horror anthology TV series based on stories from r/NoSleep. Each tale blends genre thrills & social commentary exploring the dark side of the human psyche.

9:30 – Self Driver dir. Michael Pierro Thriller

Facing mounting expenses and the unrelenting pressure of modern living, a down-on-his-luck cab driver is lured on to a mysterious new app that promises fast, easy money. As his first night on the job unfolds, he is pulled ever deeper into the dark underbelly of society, embarking on a journey that will test his moral code and shake his understanding of what it means to have freewill. The question becomes not how much money he can make, but what he’ll be compelled to do to make it.
 

w/ short: Northern Escape (10:38) dirs. Lucy Sanci, Alexis Korotash

A couple on a cottage getaway tries to work on their relationship but ends up getting more than they bargained for when they discover something sinister lurking beneath the surface.

Thursday November 21st
7pm – Funny Frights

Midnight Snack (1:41) dir. Sandra Foisy

Hunger always strikes in the dead of night.

Hell is a Teenage Girl (15:00) dir. Stephen Sawchuk

Every Halloween, the small town of Springboro is terrorized by its resident SLASHER – a masked serial killer who targets sinful teenagers that break The Rules of Horror’ – dont drink, dont do drugs, and dont have sex!

Gaslit (10:36) dir. Anna MacLean

A woman goes to dangerous lengths to prove she wasn’t responsible for a fart.

Bath Bomb (9:55) dir. Colin G Cooper

A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but after an accusation of infidelity, things take a deeply disturbing turn.

Any Last Words (14:22) dir. Isaac Rathé

A crook trying to flee town is paid an untimely visit by some of his former colleagues. What would you say to save your life if you were staring down the barrel of a gun?

Papier mâché (4:30) dir. Simon Madore

A whimsical depiction of the hard and tumultuous life of a piñata.

The Living Room (9:59) dir. Joslyn Rogers

After an unexpected call from Lady Luck, Ms. Valentine must choose between her sanity and her winnings – all before the jungle consumes her.

A Divine Comedy: What the Hell (8:55) dir. Valerie Lee Barnhart
 Dante’s classic Hell is falling into oblivion. Charlotte,

sharp-witted Harpy, navigates the chaos and sets out despite the odds for a new life and destiny.

Mr Fuzz (2:30) dir. Christopher Walsh

A long-limbed, fuzzy-haired creature will do whatever it takes to keep you watching his show.

Out of the Hands of the Wicked (5:00) dirs. Luke Sargent, Benjamin Hackman

After a harrowing journey home from hell, old Pa boasts of his triumph over evil, and how he came to lock the devil in his heart.

The Shitty Ride (9:13) dir. Cole Doran

Hoping to impress the girl of his dreams, Cole buys a used car but gets more than he bargained for with his shitty ride.

9:30 – Invited dir. Navin Ramaswaran Horror

When a reluctant mother attends her daughter’s Zoom elopement, she and the rest of the family in attendance quickly realize the groom is part of a Russian cult with deadly intentions.

w/ shorts: Defile dir. Brian Sepanzyk

A couple’s secluded getaway is suddenly interrupted by a strange family who exposes them to the horrors that lie beyond the tree line.

 A Mother’s Love dir. Lisa Ovies

A young girl deals with the consequences of trusting someone online.

Friday November 22nd
7:00 pm – Creepy Bits (anthology horror series)

Creepy Bits is a short horror anthology series that explores pandemic age themes of isolation, paranoia and distrust of authority, serving them up in bite-sized chunks. Directed by Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

9:30 – Pins and Needles (81 min) dir. James Villeneuve Horror / Thriller

Follows Max, a diabetic, biology grad student who is entrapped in a devilish new-age wellness experiment and must escape a lethal game of cat and mouse to avoid becoming the next test subject to extend the lives of the rich and privileged.

w/ short: Adjoining (11:42) dirs. Harrison Houde, Dakota Daulby

A couple’s motel stay takes a chilling turn when they discover they’re being observed, leading to unexpected consequences.

Saturday November 23rd
4pm – Emerging Screams (94 mins)

Apnea (14:58) dir. David Matheson

A single, working mother finds her career and her offbeat sons safety in jeopardy when she discovers that her late mother is possessing her in her sleep.

Nereid (7:48) dir. Lori Zozzolotto

A mysterious woman escapes from an abusive relationship with earth shattering results.

BedLamer (15:00) dir. Alexa Jane Jerrett

On the shores of a small fishing village lives a lonely settlement of men – capturing and domesticating otherworldly creatures that were never meant to be tamed.

Blocked (6:30) dir. Aisha Alfa

A new mom is literally consumed with the futility of cleaning up after her kid.

Dance of the Faery (10:23) dir. Kaela Brianna Egert

A young woman cleans up her estranged, great aunt’s home after her death. Upon inspection, she soon realizes that her eccentric obsession with fairies was not born out of love, but of fear.

Deep End (7:36) dir. Juan Pablo Saenz

A gay couple’s heated argument during a hike spiral into a nightmare when one of them vanishes, leading the other to a mysterious cave that could reveal the chilling truth.

Ojichaag – Spirit Within (11:21) dir. Rachel Beaulieu

An emotionally devastated woman seeks comfort in her choice to end her life. As she faces death in the form of a spirit, she must decide to let herself go to fight to stay alive.

Lure (9.56) dir. Jacob Phair

A tormented father awaits the return of the man who saved his son’s life.

Let Me In (10:00) dirs. Joel Buxton, Charles Smith

A reluctant man interviews an unusual immigration candidate: himself from a doomed dimension

7:00 pm –The Silent Planet (95 mins) dir. Jeffrey St. Jules Sci-fi

An aging convict serving out a life sentence alone on a distant planet is forced to confront his past when a new prisoner shows up and pushes him to remember his life on earth

w/ short: Ascension (3:57) dir. Kenzie Yango

Deep in a remote forest, two friends, Mia and Riley, embark on a leisurely hike. As tensions run high between the two, a strange humming noise appears that seems to be coming from somewhere in the woods.

9:30 – Scared Shitless (73 mins) dir. Vivieno Caldinelli Horror / Comedy

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.
 

w/ short: Oh…Canada (6:20) dir. Vincenzo Nappi

Oh, Canada. Such a wonderful place to live – WHETHER YOU LIKE IT OR NOT. A musical look into the artifice surrounding Canadian identity.

 

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased https://www.bloodinthesnow.ca/#festival

 

Follow “Blood In The Snow” Film Festival:

https://www.instagram.com/bitsfilmfest/

 

Media Inquiries:

Sasha Stoltz Publicity:

Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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It’s time for a Halloween movie marathon. 10 iconic horror films

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Sometimes, you just have to return to the classics.

That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.

We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?

“Rear Window” (1954)

“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.

James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.

— Bob Thomas

“Halloween” (1978)

At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”

Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.

The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.

— Bob Thomas

“The Silence of the Lambs” (1991)

“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”

Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.

Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.

— Bob Thomas

“Scream” (1996)

In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.

If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.

By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.

— Ned Kilkelly

“The Blair Witch Project” (1999)

Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”

“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.

The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.

But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.

— Christy Lemire

“Saw” (2004)

The fright flick “Saw” is consistent, if nothing else.

This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.

You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.

But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.

— David Germain

Germain gave “Saw” one star out of four.

“Paranormal Activity” (2009)

The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.

The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.

The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.

— Glenn Whipp

Whipp gave “Paranormal Activity” three stars out of four.

“The Conjuring” (2013)

As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.

“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.

But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.

— Jake Coyle

Coyle gave “The Conjuring” two and half stars out of four.

Read the full review here.

“Get Out” (2017)

Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”

In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”

It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.

— Jake Coyle

Coyle gave “Get Out” three stars out of four.

Read the full review here.

“Hereditary” (2018)

In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”

A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.

Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.

The hype is mostly justified.

— Jake Coyle

Coyle gave “Hereditary” three stars out of four.

Read the full review here. ___

Researcher Rhonda Shafner contributed from New York.

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