Media

Revisiting the Great COVID Social Media Scolding – Vanity Fair

Published

4 years ago

March 10, 2021

This article is part of a series, Our Pandemic Year, that marks the anniversary of the first quarantine orders in the U.S. Read them all here.

For a few brief weeks last spring, for once, we didn’t really want to hear from celebrities and influencers. Their work, which depends on connecting with others through relatability and authenticity, was ill-equipped to meet the moment. Presenting oneself doing anything that wasn’t personal suffering or giving gobs of money to a cause felt tone-deaf at the time—and even those acts could sound tone-deaf. It was a moment for nuance, and social media is famously not a nuanced place. At the time, I wrote a story about a couple such influencers in the midst of running aground to this effect. Topped with an intense headline— “Is This the End of Influencing as We Knew It?”—it drew the attention of the much-followed Instagram account Diet Prada, and more people found out about it from there.

A year feels way too soon to look back at early COVID in the U.S. It seems like such an arbitrary time marker when in fact, it feels like it’s been 10 years since last March, and also like it was yesterday. For me, looking back means remembering this story, which still looms large in my memory, though most have probably forgotten it. I’ve returned to it many times throughout the pandemic, largely to wince, and I started to dread its anniversary specifically, on top of the generalized dread of this March. Still, maybe, right now, when we’re not quite out of this thing, but starting to conceive of an end, is the best time to take stock of what happened in order to figure out how to move forward.

First, a recap of what happened then. Naomi Davis, known in her online form as Taza, and Arielle Charnas of Something Navy, are two influencer moms who were living in New York City. Both were part of the fledgling influencer cohort that began their blogs and then grew their followings on Instagram; both also became avatars for questionable pandemic behavior just as the novel coronavirus was starting to rip through the U.S. and New York City in particular.

On March 17, 2020, Charnas told her followers she felt sick, and then took them along with her as she went to get tested for COVID. It seems quaint in retrospect. Now, reliable tests are one of the main tools for fighting the pandemic that we have. But—call it recent-history overload—it’s easy to forget that accessing testing in New York, as well as most of the country, was a difficult, confusing experience and a rare one too. Much like vaccines today, there were criteria for who qualified to get tested, and they were rationed for the most vulnerable populations. A few days prior to Charnas’s post, The New York Times published, “One woman in Harlem who wanted to be tested was told by health care workers not to worry about her coronavirus-like symptoms. In Brooklyn, a woman had to wait to get tested until her mother tested positive for the virus. One doctor at a hospital network has turned away patients who probably had the coronavirus because they did not meet the current testing.”

Though obviously ill, Charnas didn’t appear to qualify for testing. She proceeded to find a doctor who would give her a test, eventually posting the video of her nasal swab. She even tagged him, engaging old influencing best practices in a brave new world. There was a contingent that vocalized frustration with her actions (and many who praised her) after she posted again, noting she tested positive. The point she made in a Notes-app post was one that many have made since: “It is the responsibility of our government office to ensure all Americans can access necessary tests,” she wrote.

Around the same time, Davis posted about how she was packing up her family of seven in an R.V. and driving away from the city, which at the time was the nation’s COVID hotspot. Many of her followers condemned her, as health experts shared fears that Davis and social media personalities like her might “influence” others into carrying the virus across state lines.

By that time, Charnas, too, was getting out. On March 26, less than two weeks after posting that she had tested positive, she announced on Instagram that she and her family had decamped to the Hamptons, posting a photo of herself looking carefree with arms extended overhead in the air. A thread about Charnas’s entire experience, which described commenters getting “big mad,” went semi-viral on Twitter, which is how I and so many others first encountered her.

If bypassing testing restrictions rankled online commenters, then the optics of driving a couple hours east—or across the country—was way worse: A stay-at-home order was in place for most New Yorkers, and not just those showing symptoms of the disease.

There’s no way to prove with hard data that anyone got the idea to go elsewhere from Davis, Charnas, or anyone else who picked up and left their homes, but many did the same. Getting out of a city during the pandemic was not a difficult idea to come by on one’s own. As Kyle Chayka reported in The New Yorker in October, Airbnbs grew scarce over the summer. There was a mass exodus to elsewhere, specifically for longer-term “remote work” getaways outside of urban areas, per the company’s own data: Many migrated upstate, up into the Adirondacks. Others chose Vermont’s ski destinations, resort towns in Montana and Colorado, lake country in Maine as well as Portland, and Virginia’s Shenandoah National Park. Here’s one dramatic infographic that animated the exodus from the “richest neighborhoods” in New York from May. It couldn’t have been only short-term dalliances elsewhere either; one couldn’t both be on the internet and escape news of the robust housing market and scarce inventory.

I can see now that one beat I didn’t hit hard enough was that Charnas was putting her own face out there because it was her job to always be posting. She became the poster child of people reaching into their pockets to escape the pandemic, even though she and her husband were already sick. She tried to explain that she was following advice from her doctors and the CDC. For terrified people looking for a visible person to project their anxieties on, none of that mattered.

Recapping all of that brought back visceral memories of that time. My roommates and I were still taking 20 minutes to wipe down all my vegetables every time someone went to the grocery store. It was, remember, the same brief moment when Andrew Cuomo was a source of calm, just because he was taking it seriously on a daily basis while the president contradicted his own health authorities and played down the severity of the virus publicly. It inspired one particularly cursed portmanteau. (No need to repeat it here, but here’s a link for posterity.)

If our heroes were too easy to come by, perhaps our villains were too. I didn’t enjoy the celebrities and influencers offering up their lives to me in March and April 2020, and I wasn’t alone in that feeling. It came across all wrong, appearing boastful yet under the guise of help. Not my life, yet not far away enough to take me out of my life. I was too quick to single out one type of person with one type of job, though, one whose livelihood is largely dependent on posting. Cuomo now looks more like Donald Trump than ever, and we, perhaps, resemble Charnas, Davis, and the rest more than we thought we would.

Davis declined an interview, though she has a book coming out, A Coat of Yellow Paint (subtitle: Moving Through the Noise to Love the Life You Live. She does not address the “noise” of last spring, but she details the work one has to do to live one’s life online and survive.) Charnas took me up on my offer. It’s been a difficult year for her. She had already parted ways with Nordstrom in order to launch Something Navy as a standalone brand with clothing drops and a retail location in New York. She hired a CEO and they made a plan before having to push the launch back twice due to the coronavirus. Something Navy finally opened in July, though. Charnas said that her followers, the core fans who knew what they were opting into when they followed her, have stuck with her.

I wondered how she felt when she saw other people—normal people, famous people, people people—doing what she got publicly flayed for as the pandemic dragged on and the “stay at home” spring gave way to a pandemic response that varied wildly by region.

“If I were to think too much about that, I would just make myself crazy,” Charnas said. “I was following my doctors’ and my kids’ doctors’ recommendations. They were saying to me that, you know, at this point, it’s okay for you to go straight to your house in the Hamptons, you’re fine to do that. So that’s what I did. You know what I mean? So when I saw other people doing that—of course, if you had that opportunity, anyone would take that for their family.”

Over the summer and onward, just like influencers and celebrities, regular people had begun to live lives of emphatic desperation online. Suddenly, if I saw some woods or a pool or an ocean or a gorgeous view in the background of a photo or a video, it hit with a heavy thud rather than a pang of aspiration that could be easily dismissed like usual. It wasn’t just posts from influencers that kicked off little spirals, it was everyone’s posts—those of friends, family, friends of friends, loose acquaintances, my own. I know this isn’t a unique feeling (and I also know everyone didn’t feel that way). Stella Bugbee, formerly the editor in chief of New York magazine’s The Cut, put it beautifully this past December: “This year, it seemed like no matter who you are, whatever you posted, you had a high chance of getting it wrong in some way, because many of the values we’ve come to expect (and enjoy) on Instagram feel incorrect for this moment: Narcissism, flexing, even the forgivable human cry for validation seem crass in the face of so much social discord.”

She wrote this months after the spring, months after a summer that many spent reevaluating their relationship to the country’s baked-in injustices. More horrible villains than our original ones, more exacting in their privilege, had become impossible to ignore. The whole world watched a police officer squeeze the life out of George Floyd on film. Officers entered the home of a young woman, Breonna Taylor, and shot her fatally. So many stories like these followed, and meanwhile the state, and in many cases, relatives or friends, revealed their indifference or particular talent in defensive equivocating. It’s still crushing.

Even the storyline that Davis and Charnas initially epitomized kept on going until it reached impossible heights. There was Kim Kardashian, for example, and her wild choice to share her enormous, expensive destination birthday party on an island with her hundreds of thousands of followers. There were so, so many parties. “We all got tested and social distanced, of course” became some kind of incantation meant to will judgment away.

Back in spring 2020, some outlets that published stories on their actions suggested that Charnas and Davis weren’t the main problem. The problem was much larger; it was systemic, an old story, one you already know. The government was failing to take care of the people who hired them to do so, and in the absence of leadership from elected officials and health advisers people were making their own decisions. Into that void, anger got directed at those who had the gall to post.

“At the end of the day, my intention was just to share what we were going through, just like always. And going forward, I’ve been more careful about what I post. I definitely think twice now,” Charnas told me. “I’m trying to be more sensitive [to what’s] going on around me and in the world before I do share anything.”

As time went on, it became clear that being an absolutist about COVID precautions was unsustainable at best. At worst, it made people afraid to do certain things—like go to the beach or find a better place to live—that eased mental health burdens and made “safer,” more nuanced risk-taking possible. Of course this was hard to see back then. When I first wrote about Charnas last April, I was desperate to know what to do and how to feel about every little thing. More than anything else, I remember guilt. Guilt for health, guilt for home. Guilt for having a job that persisted under the circumstances. Guilt for struggling sometimes to do the one thing I have to do for my job—just write. That’s it!—and hoping that I wasn’t getting it all wrong. There was so much guilt, and that doesn’t translate well online either. Every post on social that didn’t transmit guilt felt unrelatable and tone-deaf, and if it did manage to hit that incredibly difficult tone, it was too overwhelming. I didn’t want to relate any more.

Influencing, the Job, isn’t over, as both Charnas and Davis are a living testament to. The concept of people sharing their lives with followers and, in the process, selling them stuff will likely always be economically viable, in its many iterations, whatever those may be. I do stand by the essence of the piece. Generally speaking, the days of influencers posting straight lifestyle content without a thought to the politics of the moment are over for now—some will obviously and openly not care about it, but that, too, has become a choice. The protests this summer and onward only deepened that feeling. In the meantime, we’ll still follow the story lines that those living lives half online provide for us because influencers, like most celebrities and public figures, are our avatars. They help us work out how we feel by putting their choices out there. They allow us to judge them, so that we can judge ourselves, so that we can know how we want to live.

More Stories From Our Pandemic Year

— Revisiting the Great COVID Social Media Scold
— How Tom Hanks Became the Avatar of Our Pandemic Year
— Andrew Cuomo Got His Coronavirus-Celebrity Wish
— For Every Stage of the Pandemic, There Has Been a Celebrity Getting in Trouble for Partying
— After the Year of No Bras, Things Are Looking Up

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Bayo Onanuga battles yet another media – Punch Newspapers

Published

1 week ago

October 31, 2024

Harry Miller

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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!

Published

3 weeks ago

October 22, 2024

Sasha Stoltz

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 Dean’s 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 Hall’s 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.

Lucy’s 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 what’s happening right under everyone’s 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 isn’t close to settling on Eric’s 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, Anna’s 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 she’s 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’ – don’t drink, don’t do drugs, and don’t 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 son’s 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:

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

Published

3 weeks ago

October 19, 2024

Anne Joseph

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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