I already wrote a bit about my experience with this year’s Hooptober and my mental state in general in a previous article. But now that the at-home festival has concluded, I want to revisit some of the highlights - and some that stood out for the wrong reasons.

Halloween Ends (2022) - dir. David Gordon Green

The latest release on my list for this year. I couldn't stop thinking about this comparison: every movie in this trilogy has the same relationship as The Last Jedi and Rise of Skywalker do: solid movies (save for Kills, which is a misfire by its own merits alone) with good ideas that make each other worse by being placed next to each other. The contradictions in themes, pacing and worldbuilding across this trilogy get worse and worse with every entry. 

On its own this is actually pretty enjoyable. Comparisons to Carpenter’s Stephen King adaptation Christine have already been worn to death, but it’s warranted. Ironically the movie begins to lose its footing the second Michael actually shows up. Not that it's a complete slog in the second half - there's a really fascinating exchange at a bar that hints at themes of community grieving and a larger statement about how people internalize tragedies that aren't theirs. The ending is severely underwhelming, both in terms of the film itself and of the trilogy as a whole.

Prince of Darkness (1987) - dir. John Carpenter

I love the atmosphere of doom that Carpenter creates here, a blend of the other two movies in the Apocalypse trilogy with a special dose of Lucio Fulci's cosmic dread. The blending of computer technology, quantum physics and echoes of ancient evil create a horrifying sense of anachronism. It's not without its goofy moments (where'd Susan go? time to slowly wander through this hallway) but once the gears really start turning in the second half it's some of Carpenter's best work. Apart from Walter, anyway.

They Live (1988) - dir. John Carpenter

I was surprised by how funny this could be even though I already knew some of the quotables, I think just because the material is so nihilistic in its depiction of consumerism and displacement despite its goofy aesthetics. Piper and David are stellar, as is snappy editing. The shot-reverse-shot reveal of the first alien is what movies are made for.

Vampire Hunter D (1985) - dir. Toyoo Ashida & Vampire Hunter D: Bloodlust (2000) - dir. Yoshiaki Kawajiri

I hadn’t gotten much into the old AMVs from the 80s before anime went big in the states, but the original Vampire Hunter D is a fun ride. What it lacks in smooth movement it makes up for in a rigid sense of style. 

The odd blend of Hammer horror and arguably run of the mill anime sci-fi aesthetics always pulls new surprises. The lead character has more power set ass-pulls than a Captain from Bleach, but it got to a point where it was so far out there I just kinda had to surrender to it. I love the depiction of vampires as slimy eugenecists.

Bloodlust doubles down on the Gothic horror aesthetics in so many ways, particularly in the central romance and the treatment of D as a more shadowy figure. His introduction in the sequel is stunning, but what's even better is his character throughout the film being a Mad Max-esque drifter with a heart of gold that isn't bogged down by people trying and failing to change him like in the last movie. On a more surface level, the animation has improved to a spectacular degree. The climax is excessive and bizarre but in a way where you can still follow the logic, unlike the last movie which is rug pull after rug pull. Very glad I chose these two for the festival this year.

The Wailing (2016) - dir. Na-Hong Jin

It’s been a while since there was a movie I wanted to love more than The Wailing. The film reaches its height in the middle, but even then it pales in comparison to some of the highs it’s chasing. Reminds me of other “cops ‘n’ ghosts” movies like Cure, The Empty Man and Exorcist III, but doesn’t reach any of those peaks, namely due to the lack of a strong protagonist. There are magnetizing sequences here and a wonderful sense of creeping dread, but it’s too long and the first hour is really poorly paced. Everything from the violent confrontation with the stranger to the scene in the cave is great.

Saloum (2021) - dir. Jean Luc Herbulot

Saloum features a mouth watering combination of samurai and monster movie influences, with bold characters, eye catching costumes and fascinating creature designs. What begins as a tight thriller creeps more and more into the depths of horror as our three lead mercenaries discover a dark secret. A movie that bends and curves much like the river at its center.

Twister’s Revenge (1988) - dir. Bill Rebane

I’ll admit I put this one on here for goofs. A movie where three stooges try to steal a monster struck that’s piloted by an artificial intelligence who decides it’s going to kill them all. It’s even weirder than that description implies.

The Funhouse (1981) - dir. Tobe Hooper

My Tobe Hooper choice for this year. The Funhouse came out during the year of the slasher, and its carnival aesthetic sets it apart at first glance. But what really makes this one different is the family dynamic between the deformed killer son and soft spoken, southern accented father (sound familiar?). But the characters apart from the two of them, and the occasional carney, offer little to hold on to. Opens with an eye-rollingly brazen Psycho homage that put me in a bad mood for most of the remainder.

Compared to Hooper's films I've watched solely for this festival, it's better than Salem's Lot, but it's no Texas Chainsaw 2.

The Fly (1986) - dir. David Cronenberg

My favorite film I chose for this year’s festival. Possibly the only movie that's managed to be a monster movie and a tragic romance without the two components feeling at odds with each other. As I was watching I found it odd that this was well received at the time considering the dour grossness of it, just four years after the dour grossness of The Thing was met with malign that took decades to overcome. Not that these movies are similar, Cronenberg’s film is much more about human tragedy and hubris than Carpenter’s icy tale of isolation. But to a layman they probably exist in a similar space.

Reflection

Nothing from my Hooptober list this year is making my all time favorites list, though The Fly and Prince of Darkness certainly come close. Probably the Hooptober list I’ve enjoyed the least out of the three overall, but that’s alright. My goal for next year is to feature more international and older releases, as I definitely went easy on myself with three Cronenberg flicks and two Carpenters. But, another year of a wonderful tradition is over. See you for Hooptober X.