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00’s Retrospect: Bloody Disgusting’s Top 20 Films of the Decade…Part 3

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I tried to find a common theme among entries 10-6 in Bloody-Disgusting’s list of the Top 20 Horror Films of the 2000s, but after a head-scratching 30 minutes or so I realized there just isn’t one, at least not one that’s justifiable (people die in all five of them? They all have scary stuff?). But in a way, that’s one of the great things about horror cinema in the last decade – not only have there been a ton of amazing films, the diversity among them is astounding. In fact, there’s not one trend that can really sum up the decade, unlike the `80s (slashers) or the `90s (self-aware horror). Just goes to show how truly dynamic the genre has the capacity to be.

Also read: 00’s Retrospect: Dead on Arrival — Ten Horror Duds of the Last Decade

The last ten years have been a wild ride for horror fans. Thanks to countless innovators and a host of amazing films, it can safely be said that the 2000’s trump the 1990’s by a wide margin. Sure, that decade had groundbreakers like Scream and The Blair Witch Project, but that’s nothing compared to the number of great horror films (and, for that matter, the number of total horror films) that this decade has had to offer. To celebrate, the staff of Bloody-Disgusting decided to take a vote on the Top 20 horror films* of the 2000’s (along with one honorable mention), and the below list is the result. Looking over it, it’s actually pretty telling that nearly half the movies (9 out of 21) were produced on foreign soil, which just goes to show that this decade in horror was as much about the range of impressive imports as it was about the American product. Your favorites aren’t on there? Cry us a river. Or better yet, let us know what we missed. And make sure, at some point before the New Year, to get on your knees, clasp your hands together and pray to the horror gods to make the next decade as good as the last. – Chris Eggertsen

21-16 | 15-11 | 10-6 | 5-1


10. Saw (Lionsgate; October 29, 2004)


Perhaps the most influential horror film of the decade, Saw kick-started a franchise that became the highest-grossing in horror history (not adjusting for inflation, of course). The film has its detractors (although perhaps their disdain is directed more at the endless succession of sequels that followed), but in light of its measly $1.2 million price tag the film’s quality relative to bigger-budget horror films is striking. It also takes itself seriously, which came as a breath of fresh air following the trend of wimpy tongue-in-cheek horror that had dominated the multiplexes post-Scream. More than anything, this twisted morality tale is a film made by horror fans, for horror fans; it’s gory, it’s depraved, and best of all it introduced a new horror icon in Jigsaw. For that, and for the films it paved the way for, we should be thankful.


9. Trick `r Treat (Warner Premiere; October 6, 2009)


Michael Dougherty’s horror anthology is so good that its lack of a theatrical release (thanks a lot, Warner Brothers) borders on the criminal. Maybe the studio was scared off by the film’s candid black-heartedness; Hollywood often shies away from portraying the deaths of children onscreen, but when it’s done without apology, and even with a dose of humor (as it is here), the filmmakers may as well start digging their movie an early grave. Luckily, the horror community has rallied behind the film, a new Halloween classic that showcases four stories of madness and mayhem set during All Hallow’s Eve. When all is said and done, perhaps Trick `r Treat‘s greatest contribution to the world of horror cinema is proving that straight-to-DVD films can be just as good, if not better, then their theatrical counterparts.


8. Dawn of the Dead (Universal Pictures; March 10, 2004)


In a time when most remakes pale in comparison to the originals, Dawn of the Dead is something of a minor miracle. Sure, it’s not as good as Romero’s version. It’s not even as smart. But Zack Snyder brought an energy and a style to it that succeeded in making us forget about all that. Truly, you can analogize the two films based on their zombies alone – where Romero’s lumbered and took their time (in a good way), Snyder’s came at us, fast, with teeth bared like rabid dogs. He truly made his own version of Dawn of the Dead, his own way, with a distinctly 21st century sensibility. And why shouldn’t he have? There’s no way to really top the 1978 incarnation, so it makes perfect sense to just go for broke. And therein lies the beauty of Snyder’s film – he wasn’t out to best Romero; he just wanted to outrun him. And it worked.


7. 28 Days Later (Fox Searchlight; November 1, 2002)


Zombie movie? Political allegory? Humanist drama? 28 Days Later is all of those things and more – a genuine work of art by a director at the top of his game. What’s so amazing about the film is the way it so expertly balances scenes of white-knuckled, hell-for-leather horror with moments of intimate beauty. The “zombies” themselves – human beings infected with a blood-borne virus that causes them to fly into a murderous rage – are terrifying in part because of how quickly they transform. It’s not a slow, gradual conversion as in Romero’s Living Dead films but a near-instantaneous one that forces those around the victim to make a split second decision – kill or be killed? Of course, none of this would have mattered had Danny Boyle not been the one at the helm; it’s undeniably his movie, and it’s a transcendent movie-going experience.


6. The Ring (DreamWorks; October 18, 2002)


The Ring was not only the first American “J-Horror” remake out of the gate; it also still stands as the best. Some prefer Ringu, Hideo Nakata’s Japanese original, but Verbinski’s version is simply a better film. Witness the expertly paced opening scene, which stands as one of the scariest prologues in horror movie history and trumps the original by a mile. Witness the haunting and abstract imagery on the videotape itself, much more disturbing than in the Japanese film. Witness lead actress Naomi Watts, turning in a full-blooded performance as the reporter investigating the mysterious killer video tape. Koji SuzAdd Newuki, the writer of the book the Japanese film was based on, gets credit for that ingeniously simple premise. Verbinski gets credit for (re)interpreting it with such craftsmanship, and doing Nakata one better.

Editorial written by Chris Eggertsen


21-16 | 15-11 | 10-6 | 5-1

*Editor’s Note: For those of you interested in knowing how the list came to be, here’s an explanation. Bloody Disgusting writers collaborated on a list of some of the best films this decade. The entire list was given to the Bloody Disgusting staff who then built their own Top 20 lists. Each film was given a point value. 20 received 1 point, 19 received 2 points, and so on all the way to number 1, which received 20 points. The numbers were tallied and the result are the top films listed. The bonus film had tied with #20 and the tie was broken by the number of actual votes.

The following participated in the project: Mr. Disgusting, Tex Massacre, BC, David Harley, Ryan Daley, Chris Eggertsen, Jeff Otto, John Marrone, Horror_Guy, Mr_Bungle, Klown, Caustic Coffee and Tool Shed

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Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

LEPRECHAUN

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

LEPRECHAUN RETURNS sequel

Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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