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The Question We’ve Stopped Asking About Teen-Agers and Social Media – The New Yorker

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The Question We’ve Stopped Asking About Teen-Agers and Social Media

Illustration by Ben Denzer

The trouble started in mid-September, when the Wall Street Journal published an exposé titled “Facebook Knows Instagram Is Toxic for Teen Girls, Company Documents Show.” The article revealed that Facebook had identified disturbing information about the impact of their Instagram service on young users. It cited an internal company presentation, leaked to the paper by an anonymous whistle-blower, that included a slide claiming that “thirty-two percent of teen girls said that when they felt bad about their bodies, Instagram made them feel worse.” Another slide offered a blunter conclusion: “Teens blame Instagram for increases in the rate of anxiety and depression. This reaction was unprompted and consistent across all groups.”

These revelations sparked a media firestorm. “Instagram Is Even Worse Than We Thought for Kids,” announced a Washington Post article published in the days following the Journal’s scoop. “It’s Not Just Teenage Girls—Instagram Is Toxic for Everyone,” claimed an op-ed in the Boston Globe. “Zuckerberg’s public comments about his platform’s effects on mental health appear to be at odds with Facebook’s internal findings,” noted the New York Post. In a defiant post published on his Facebook account, Mark Zuckerberg pushed back, stating that the motives of his company were “misrepresented.” The very fact that Facebook was conducting this research, he wrote, implies that the company cares about the health impact of its products. Zuckerberg also pointed to data, included in the leaked slides, that showed how, in eleven out of the twelve areas of concern that were studied (such as loneliness and eating issues), more teen-age girls said that Instagram helped rather than hurt. In the background, however, the company paused work on a new Instagram Kids service.

These corporate responses weren’t enough to stem the criticism. In early October, the whistle-blower went public in an interview on “60 Minutes,” revealing herself to be Frances Haugen, a data scientist who had worked for Facebook on issues surrounding democracy and misinformation. Two days later, Haugen testified for more than three hours before a Senate subcommittee, arguing that Facebook’s focus on growth over safeguards had resulted in “more division, more harm, more lies, more threats, and more combat.” In a rare moment of bipartisanship, Democrat and Republican members of the subcommittee seemed to agree that these social-media platforms were a problem. “Every part of the country has the harms that are inflicted by Facebook and Instagram,” the subcommittee chair, Senator Richard Blumenthal of Connecticut, stated in a press conference following Haugen’s testimony.

This is far from the first time that Facebook has faced scrutiny. What struck me about this particular pile-on, however, was less its tone—which was near-uniformly negative—than what was missing. The commentary reacting to the Journal’s scoop was quick to demand punishment and constraints on Facebook. In many cases, the writers seethed with frustration about the lack of such retribution enacted to date. “Both Democrats and Republicans have lambasted Facebook for years, amid polls showing the company is deeply unpopular with much of the public,” noted a representative article from the Washington Post. “Despite that, little has been done to bring the company to heel.” What’s largely absent from the discussion, however, is any consideration of what is arguably the most natural response to the leaks about Instagram’s potential harm: Should kids be using these services at all?

There was a moment in 2018, in the early stages of the Cambridge Analytica scandal, when the hashtag #DeleteFacebook began to trend. Quitting the service became a rational response to the growing litany of accusations that Facebook faced, such as engineered addiction, privacy violations, and its role in manipulating civic life. But the hashtag soon lost momentum, and the appetite for walking away from social media diminished. Big-swing Zeitgeist articles—such as a 2017 Atlantic story that asked “Have Smartphones Destroyed a Generation?”—gave way to smaller policy-focussed polemics about arcane regulatory responses and the nuances of content-moderation strategies. This cultural shift has helped Facebook. “The reality is that young people use technology. Think about how many school-age kids have phones,” Zuckerberg wrote in his post responding to the latest scandal. “Rather than ignoring this, technology companies should build experiences that meet their needs while also keeping them safe.” Many of the politicians and pundits responding to the Facebook leaks implicitly accept Zuckerberg’s premise that these tools are here to stay, and all that’s left is to argue about how they operate.

I’m not sure, however, that we should be so quick to give up on interrogating the necessity of these technologies in our lives, especially when they impact the well-being of our children. In an attempt to keep this part of the conversation alive, I reached out to four academic experts—selected from both sides of the ongoing debate about the harm caused by these platforms—and asked them, with little preamble or instruction, the question missing from so much of the recent coverage of the Facebook revelations: Should teen-agers use social media? I wasn’t expecting a consensus response, but I thought it was important, at the very least, to define the boundaries of the current landscape of expert opinion on this critical issue.

I started with the social psychologist Jonathan Haidt, who has emerged in recent years, in both academic and public circles, as one of the more prominent advocates for issues surrounding social media and teen-age mental health. In his response to my blunt question, Haidt drew a nuanced distinction between communication technology and social media. “Connecting directly with friends is great,” he told me. “Texting, Zoom, FaceTime, and Snapchat are not so bad.” His real concern were platforms that are specifically engineered to “keep the child’s eyes glued to the screen for as long as possible in a never-ending stream of social comparison and validation-seeking from strangers”—platforms that see the user as the product, not the customer. “How did we ever let Instagram and TikTok become a large part of the lives of so many eleven-year-olds?” he asked.

I also talked to Adam Alter, a marketing professor at N.Y.U.’s Stern School of Business, who was thrown into the social-media debate by the publication of his fortuitously timed 2017 book, “Irresistible,” which explored the mechanisms of addictive digital products. “There’s more than one way to answer this question, and most of those point to no,” he answered. Alter said that he has delivered this same prompt to hundreds of parents and that “none of them seem happy that their teens use social media.” Many of the teens he spoke with have confirmed a similar unease. Alter argued that we shouldn’t dismiss these self-reports: “If they feel unhappy and can express that unhappiness, even that alone suggests the problem is worth taking seriously.” He went on to add that these issues are not necessarily easy to solve. He expressed worry, for example, about the difficulty of trying to move a teen-ager away from social media if most of their peers are using these platforms to organize their social lives.

On the more skeptical side of the debate about the potential harm to teen-agers is Laurence Steinberg, a psychology professor at Temple University and one of the world’s leading experts on adolescence. In the aftermath of Haugen’s Senate testimony, Steinberg published an Op-Ed in the Times that argued that the research linking services like Instagram to harm is still underdeveloped, and that we should be cautious about relying on intuition. “Psychological research has repeatedly shown that we often don’t understand ourselves as well as we think we do,” he wrote. In answering my question, Steinberg underscored his frustration with claims that he thinks are out ahead of what the data support. “People are certain that social media use must be harmful,” he told me. “But history is full of examples of things that people were absolutely sure of that science proved wrong. After all, people were certain that the world was flat.”

Another leading academic who expresses caution about stamping out social media is Amy Orben, a research fellow at the University of Cambridge, who specializes in the statistical analysis of large data sets. In 2019, Orben, along with an experimental psychologist at Oxford named Andrew Przybylski, made waves with a contrarian study that they published in the journal Nature Human Behaviour. The paper applied an advanced statistical technique called specification-curve analysis to three large-scale social data sets, which contained responses from more than three hundred and fifty thousand individuals. Orben and Przybylski found, in contrast to previously published results, only a minor negative association between digital technology and adolescent well-being. “Taking the broader context of the data into account suggests that these effects are too small to warrant policy change,” they conclude. In response to my question about teen-agers using social media, Orben echoed this conclusion that researchers shouldn’t be making behavior recommendations. “Teenagers have the right to do what they want to do and what they see [as] appropriate,” she told me. “I don’t think I am in the capacity to say whether they should use social media or not.”

These four expert responses do not provide a definitive answer to the question of whether teen-agers should participate on platforms like Instagram, but they do encode some useful insights. At the core of Steinberg and Orben’s equivocations on the topic is their conviction that we lack a strong signal in the data that shows an unambiguous link between social media and reduced well-being. Reading the literature in more detail makes it clear that we shouldn’t expect such a strong signal anytime soon. Non-scientists often assume that measuring the impact of behavior is straightforward: Can’t we just compare teen-agers who use social media to those who don’t and see which group is happier? The issue is that humans are complicated. Many factors influence well-being, and many of these factors are correlated in subtle ways—maybe the very reason you use social media more as a teen-ager is to feel better about other issues that are already making you sad. Soon after Orben and Przybylski published their study in Nature Human Behaviour, for example, a group of researchers, including Haidt, published a reply in the same journal, arguing, among other things, that the minor negative correlation in the original paper increases significantly when you change the behavior studied from screen time in general to social media use more specifically. Orben and Przybylski then responded with a reply to the reply—and so turns the slow wheel of research progress.

For a particularly dispiriting case study of how long it sometimes takes to establish definitive causation between behaviors and negative outcomes, consider the effort involved in connecting smoking to lung cancer. The first major study showing a statistical correlation between cigarettes and cancer, authored by Herbert Lombard and Carl Doering of the Massachusetts Department of Public Health and the Harvard School of Public Health, was published in 1928. I recently came across an article in the archives of The Atlantic from 1956—nearly thirty years later—in which the author was still trying to convince skeptics who were unhappy with the types of confounding factors that are unavoidable in scientific studies. “If it has not been proved that tobacco is guilty of causing cancer of the lung,” the article pleads, “it has certainly been shown to have been on the scene of the crime.”

So where does this leave us? If the science is not yet ready to give us a definitive answer about the impact of social media on teen-agers, then Amy Orben is right when she notes that, in her role as a scientist, she can’t tell you what to do with your kids. But this isn’t an issue that we need to fully defer to science. Unlike the hard-to-detect development of lung-cancer cells, when it comes to the well-being of teen-agers, we can, as parents or educators, often clearly observe what seems to make a difference. Even more directly, we can ask the teen-agers themselves. As Adam Alter noted, it doesn’t take much time chatting about social media with these groups before alarms begin to ring. In other words, you don’t need a specification-curve analysis to uncover the potential negative impacts of Instagram—just ask any teen-age girl. Of course, even given the high level of concern about these tools, the right response is still not obvious. It might turn out that the best way forward is to treat teen-age social media like teen-age smoking, and reorient our culture to discourage it altogether. It might also turn out, however, that a more nuanced approach is needed, where we change our culture to make it easier to choose not to use social media, enabling the subset of people who suffer disproportionately from its effects to find a socially acceptable escape from the technologies that unsettle them.

What is obvious, however, is that regardless of what answers we end up with, we need to keep debating these fundamental questions. As Zuckerberg emphasized in his defensive post, he wants us to concede that his products are inevitable, and that we have no choice but to move on to discussing their features and safeguards. We might think we’re really sticking it to these social-media giants when we skewer their leaders in congressional hearings, or write scathing commentary pieces about the shortcomings of their moderation policies, but, in some sense, this response provides a reprieve because it sidesteps the conversation that these companies are trying hardest to avoid: the conversation about whether, in the end, the buzzy, digital baubles they offer are really worth all the trouble they’re creating.


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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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