problem with horror fans babadook witch it follows

You’re Next is perfect example of what I’m talking about. But the filmmakers never pretend that they are not making genre films, and with that acknowledgment comes a subtle air of self-awareness which permeates every frame of their films, like invisible ink on a treasure map only understood by those who know what to look for. The characters in these stories do not know they are in a movie. What’s curious about both these films, and why they are interesting to me as a moviegoer, is that they are subversively self-referential. Two such independent filmmakers of note are Adam Wingard and Simon Barrett, the filmmaking duo behind You’re Next and The Guest. And that’s not even counting the independent side of the coin where The Witch, The Babadook, and It Follows took over the festival circuit and validated to some moviegoers what we horror fans have known for a long time: that the horror film is as versatile and effective a storytelling tool as any. Starting with Paranormal Activity and moving into Sinister, The Conjuring, even something as recent as Lights Out, studio horror has shown a significant lack of resting on laurels. However, with the limitations of budget, it’s arguable to conclude that some of the most interesting horror cinema in decades has been created. Sure, budgets of horror films have dipped significantly thanks in part to the success of the Blumhouse model of moviemaking. In a near decade-long, industry-wide edict of IP-driven filmmaking, where branding and synergistic endeavors based off decades-old stories are exploited for high payoff with little to no consideration given to individual artistic expression and innovation, horror has, curiously, remained a steadfast advocate for the new and the unusual.

Problem with horror fans babadook witch it follows