Gothic Films 2020: Subgenres of Terror

By Steve Hutchison

Included in this book are 50 reviews of horror and horror-adjacent Gothic films.

Gothic films are medieval romance or films of Victorian inspiration.

Each book in the Subgenres of Terror 2020 collection contains a ranked thematic watchlist.

• Language: English
• Publisher: Steve Hutchison
• Release date: Feb 21, 2023
• ISBN: 9781778871016

Steve Hutchison

Artist, developer and entrepreneur in film, video games and communications Steve Hutchison co-founded Shade.ca Art and Code in 1999, then Terror.ca and its French equivalent Terreur.ca in 2000. With his background as an artist and integrator, Steve worked on such games as Capcom's Street Fighter, PopCap's Bejeweled, Tetris, Bandai/Namco's Pac-Man and Mattel's Skip-Bo & Phase 10 as a localization manager, 2-D artist and usability expert. Having acquired skills in gamification, he invented a unique horror movie review system that is filterable, searchable and sortable by moods, genres, subgenres and antagonists. Horror movie fans love it, and so do horror authors and filmmakers, as it is a great source of inspiration. In March 2013, Steve launched Tales of Terror, with the same goals in mind but with a much finer technology and a complex engine, something that wasn’t possible initially. He has since published countless horror-themed books.

Book preview

SubgenresOfTerror2020_Single_GothicFilms_Cover.jpg

Tales of Terror’s

Subgenres of Terror 2020

Gothic Films

INTRODUCTION

Included in this book are 50 reviews of horror and horror-adjacent Gothic films.

Gothic films are medieval romance or films of Victorian inspiration.

Each book in the Subgenres of Terror 2020 collection contains a ranked thematic watchlist.

#50

Frankenstein

1931

4/8

A scientist gives life to a creature made of parts from exhumed corpses.

Frankenstein is a high-end adaptation of a novel by the same title written by novelist Mary Shelley. Many hands handled this script in order to create a horror masterpiece that calls upon our darkest fears. By protagonizing its monster, it informs us on the grey zones of its evil. The character is written as instinctive but unintelligent. He is a supernatural brute brought back from the afterlife.

The monster’s design is memorable and highly marketable. Sumptuous matte painting is used to support his evolving state of mind. The set design suggests a surreal aura that augments his presence. He isn’t unlike Dracula, but was born from technology and is a glorified bully; not a hypnotist. The cast is limited but effective and focused. The leads, particularly, deliver an intense performance.

The castle most of the action takes place in is dark and claustrophobic. Production design did a great job of building a futuristic laboratory that sets the table for thrilling action scenes and two acts filled with special effects appearing ahead of their time. The writing and directing are impeccable and barely struggle with the technical challenges such a ground-breaking concept poses.

#49

Dracula

1931

4/8

A travelling solicitor is preyed upon by a hermit who drinks human blood.

Forty years prior to this, a novel by the same name was published and this is one of its adaptations. 1922’s Nosferatu was silent, more sinister and epic, while 1921’s Dracula’s Death was considered a lost film since its release and remains arguably unseen. Dracula is a dominant and quirky figure who takes everything from his victims, granted they spend enough time on his territory to become his.

Universal Studios artists gave the antagonist depth through an addiction to human blood; they wrote him hypnotic powers, charisma, and polarized strengths and weaknesses that make him colorful despite the terror he brings forth. This third cinematic rendition of the count is augmented by convincing matte painting and dedicated Gothic set design. The castle is at time sumptuous, at times eerie.

The remote maze is built to confine the audience in a dark viewing experience they won’t forget. Bela Lugosi gives a memorable performance that goes straight for goose bumps. His accent reminds us he is an immortal foreigner and therefore isn’t socially compatible with the protagonists. He cannot be reasoned with and behaves like a psychopath or an animal with a link to the occult.

#48

Meridian

1990

4/8

Two women are seduced, drugged and raped by an illusionist.