devil fetus header - a young nam stands in the center of a grid of fire

Hooptober 12.0 – Devil Fetus (1983)

Being Film #13 for Hooptober 2025

I never thought I’d see a film like Hausu again. That movie, a psychedelic fever dream from Nobuhiko Obayashi, was off the walls and inventive in a way I never expected, and never expected to see again. I am so happy to be proved wrong by Devil Fetus, an on the surface low-budget Hong Kong horror flick that stretches every single dollar to provide some hilariously over-the-top effects and set pieces, going to some bizarre corners in a delightfully schlocky mess I enjoyed the hell out of.

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dead snow - a bunch of nzi zombies stand in the snow

Hooptober 12.0 – Dead Snow (2009)

Being Film #12 for Hooptober 2025

It’s getting harder and harder to reinvigorate the trope of “bunch of young adults headed to a remote cabin where horror ensues”. You could even argue the attempts to subvert the trope is itself a trope. And yet, even though I don’t really love Dead Snow, writer/director Tommy Wirkola’s attempt to play in the sandbox, there’s just enough schlock and weird moments that make the film fun. Tired, but fun. Also I could have sworn I’d seen this movie before, but I think the trailer was so popular at the time it left an impression. Now that’s a trope we need to re-invigorate: when the trailer/concept is better than the actual execution.

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viy header

Hooptober 12.0 – Viy (1967)

Being Film #11 for Hooptober 2025

Straddling the line between folktale and vibrant Hammer-style gothic horror, I was shocked and surprised at how much I enjoyed the lean, vibrant Viy. My knowledge of Russian cinema, let alone Russian horror, is pretty limited, but I shouldn’t be surprised considering the rich history Russia has from a literature standpoint. Adapted from a short story by Nikolai Gogol, Viy is a wonder of practical effects, concise storytelling, and – weirdly – a sense of joy despite its grim plot.

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a close up of a zombie face

Hooptober 12.0 – Return of the Living Dead Part II (1988)

Being Film #10 for Hooptober 2025

I typically don’t hold out a lot of hope for sequels, especially 80s sequels to 80s movies that were themselves comedic reboots of older films. But somehow despite the loss of Dan O’Bannon Return Of The Living Dead Part II not only works as a worthy successor, it leans into the ridiculous in such a way that I was laughing out loud when I wasn’t outright groaning. But even those groans were good-natured, making me nostalgic for a time when seemingly every 80s film looked and sounded like this one. How do you get nostalgic watching a film you’ve never seen? Because I’ve seen a variation of this films dozens, hundreds of times in my childhood. So sure, this might be technically worse than a lot of other films I may see this marathon. But it’s also guaranteed to have been more fun, too.

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the living dead girl - a close-up of a woman whose mouth has blood on it.

Hooptober 12.0 – The Living Dead Girl (1982)

Being Film #9 for Hooptober 2025

There were a lot of things running through my mind watching La Morte Vivante, aka The Living Dead Girl. I wish I meant that in a good way, but the truth is despite the cult status of Jean Rollins and the notable similarities between his films of the fantastique and the Italian giallo I adore, this film was so mind-numbingly dull any mental distraction was welcome. I hate the feeling of not really giving a film a chance, but maybe this is one cult that just isn’t for me.

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28 years later header - a desiccated zombie rises in a fields of flowers

Hooptober 12.0 – 28 Years Later (2025)

Being Film #8 for Hooptober 2025

23 years later from 28 Days Later we get 28 Years Later, and while I loved writing that sentence, I didn’t love it as much as I loved the film itself. Danny Boyle and Alex Garland return to their 2002 “fast zombie / don’t call it a zombie film” film, in the process not only setting the stage for a new trilogy of films (28 Year Later: The Bone Temple is already shot and set for January 2026) but also bursting every seam of the movie with cutting criticism of English politics while solidly building out the mythology of the world, utterly investing us in its characters, and once again using smartphones both in and on the film to marry the themes of the movie to its execution. Oh, and it’s balls out scary, to boot. This is how you do it.

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