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Hooptober 12.0 – Clown In A Cornfield (2025)

Being Film #7 for Hooptober 2025

Well, it had to happen sooner or later. Not so much a dud as a “well, I was definitely expecting more from this” kind of letdown. Maybe I finally hit the age where I just can’t relate to the kids of today, because despite coming from a guy who’s proven to successfully subvert the tenants of horror with comedy before, Clown In A Cornfield can’t get over the gulf of some seriously unlikeable kids. That and some clunky jokes combine to make a film that looks good, wraps up succinctly, but ultimately leaves you empty in the end.

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Hooptober 12.0 – The Untamed (2016)

Being Film #6 for Hooptober 2025

We continue a run of beautifully shot films that pack in a load of subtext under a veneer of horror. Although in the case of The Untamed, that horror comes from the action of its primary characters as they wrestle with their sexual appetites and the violence the repression and sublimation of those desires evoke. I mean, you can take out the Lovecraftian tentacled space alien and you’d have the exact same film. That’s right: this is a movie about a Lovecraftian space alien with an insatiable libido that becomes aggressive and hungry, and that NOT where the horror in this film lies. How about that?

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Hooptober 12.0 – Demon (2015)

Being Film #5 for Hooptober 2025

The full weight of history lies just under the surface of Demon, the stunning final film from Marcin Wrona, who tragically took his own life during the film’s run at the festival circuit. With no jump scares and little in the way of violence or gore, the film manages to burrow under your skin, taking what on the surface is a possession film and running with the term as a scathing indictment of ignoring the past and the passive evil of possessing that which was ripped away in violence. A day later it still lingers in the front of my mind.

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Hooptober 12.0 – The Possessed (1965)

Being Film #4 for Hooptober 2025

Films like The Possessed, or La Donna del Lago in its original Italian, are the reason I constantly try to seek out new films whenever Hooptober comes around. A proto-giallo that also functions as an Italian noir evoking the dream-like narratives David Lynch would forge just over a decade later, it’s a gorgeously shot film that takes the plot mechanics of what the genre would come to be known for, but drapes it under a blanket of striking black and white photography and ambiguous sequences that play as both dream, premonition and clues to the mystery surrounding its characters.

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Hooptober 12.0 – Dead Of Night (1945)

Being Film #3 for Hooptober 2025

Anthology films are hard to nail down. You not only have to have a strong selection of stories that work, but the framing device often can make or break the film. So there was already a stacked deck against Ealing Studios, the English film studio known more for comedies like The Ladykillers and The Lavender Hill Mob. But by leaning into that sense of oddness, Dead Of Night works out just right, balancing stories that veer from silly to obscure to terrifying, and letting the frame reinforce the pervading weirdness.

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Hooptober 12.0 – The Black Phone (2021)

Being Film #2 for Hooptober 2025

I had the bar set low for The Black Phone, the latest horror collaboration between the writing/directing team of Scott Derrickson and C. Robert Cargill. On one hand, I wasn’t the biggest fan of either the Sinister films or Deliver Us From Evil, save for the gnarly exorcism. On the other hand, I’ve enjoyed Cargill’s novels and this latest film comes with some true horror bonafides, being an adaptation of a Joe Hill short story. The result is a tight, thrilling film that might be my favorite Derrickson showcase to date, visceral and honest without resorting to funneling in needless exposition or backstory. It’s creepy urban legends mixed with the usual King small-town supernatural, and I fell for it hard.

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