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Horror Movie Metaphors
As a genre, Horror is arguably the most scoffed at for its gratuitous violence and gore. Not to mention the abject sexism of female sexuality being ultimately punished or having severe consequences. If you look beyond the cheap jump scares and corn syrup blood; horror (when done right) has the ability to be the most creative and thought-provoking lens in which to view the human experience. With the added suspension of belief, Horror has more scope to get creative with its messages and metaphors.
The creators may hint at their intentions with the movies but the majority of this discourse is fan theory and opinion.
Here are a few of my favorite metaphors in horror movies:
10: NOPE
Jordan Peele is a horror director known for exploring social issues in his movies. 2022’s NOPE may not have the obvious hints of sociopolitical commentary as his previous movies; Us (2019) and Get Out (2017). Yet NOPE still contains a culturally relevant metaphor many fans and film critics agree on. NOPE is generally considered to be a metaphor for fame. The siblings (played by Daniel Kaluuya and Keke Palmer) in the film even work on a ranch training horses for use in Hollywood films. The gargantuan alien entity in NOPE picks up its prey, such as humans and horses, and spits it what it can’t digest. Much like the way fame picks up aspiring performers; takes what is useful to it, spits out the rest then quickly moves on.
NOPE also heavily features the use of cameras and photographic imagery. In the world of NOPE you can’t stare at the alien or it will notice you then proceed to eat you. The film’s heroes cannot look directly at the monster. This could be likened to actors ‘spiking the lens’ or looking directly into a camera and breaking the fourth wall which is usually discouraged. Peele himself has remarked that NOPE’s central theme is exploitation, particularly the historical exploitation of people of color.
9: Hereditary
The clue is in the title. Ari Aster’s 2018 masterpiece is widely recognized as a metaphor for generational trauma. The machinations of Ellen, the grandmother of the family portrayed, effect not only her daughter Annie (played by Toni Collette) but her grandchildren too. The trauma is reimagined as Ellen’s worship of the demon king; Paimon. This worship has corrupted the family through the generations culminating in its absolute destruction.
The movie cleverly shows how our identities and fears are shaped by those who came before us.
8: SMILE
Much like Hereditary 2022’s SMILE reimagines demon possession as something that can be passed on from person to person. The demon in question symbolizes how the cycle of trauma continues following victims around like an evil faceless entity. Hurt people hurt people and they pass the entity (of abuse) on until it becomes a chain. In the narrative of the film, we are told that the unnerving smiles (which denote the presence of the demon) can appear on the faces of people you know, loved ones, or even strangers. Does this symbolize how anyone can cause you trauma? It has to be noted that the faces the demon wears when haunting the film’s protagonist Rose, are mainly the faces of her loved ones. It is a universally accepted fact that you are more likely to be attacked by a loved one than a stranger.
In psychological terms, trauma can only really be processed and ‘beaten’ when it is confronted and dealt with. SMILE mirrors this by having Rose take control and face her demons, both metaphorical and supernatural.
7: Candyman
Candyman is an extremely recognizable horror movie icon. The role was immortalized by Tony Todd in the 1992 original. In the 2021 reboot, Yahya Abdul-Mateen II takes up the mantle of Candyman and changes the trajectory of the franchise.
Candyman is a metaphor for extreme racism. The original Candyman was an artist by the name of Daniel Robitaille, who was mutilated and tortured to death for his relationship with a white woman. All the anger and hate that caused this atrocity manifested itself into the sinister supernatural killer.
Candyman in both original and reboot discusses gentrification and the ghettoization of predominantly black, low socioeconomic areas (Chicago’s Cabrini-Green). In 2021 Candyman, The Candyman is summoned to stop the gentrification of Cabrini-Green.
Candyman fans have criticised the reboot as it paints the Candyman as some kind of hero or dark knight when in the original he was the unquestionable villain. Although the original hinted at social issues the reboot has been accused of being too preachy and allowing the message to trump the story. There are many nods to current movements such as the 2021 protagonist Anthony creating an art show called ‘Say My Name’. This echoes one of the war cries of a modern movement; ‘Say Their Names’ for the victims of police brutality. Despite these discrepancies, Both versions are an allegory for how racism and racially motivated hate crimes echo throughout history to the modern day.
6:Rosemary’s Baby
1968’s Rosemary’s Baby has multiple interpretations but one of the most common is that the movie is a metaphor for misogyny and coercive control. Rosemary’s husband Guy Woodhouse wants to succeed in his acting career, and to do this he strikes a deal with his Satanist neighbors (as you do). Guy agrees to provide Rosemary as an incubator for the antichrist, unbeknownst to Rosemary. The married couple decide to have a baby and one night Rosemary is drugged by the satanic neighbours. With Rosemary incapacitated Guy and the neighbors summon Satan who rapes Rosemary and impregnates her with the antichrist.
The next morning Rosemary notices scratches on her back and Guy claims they got drunk and he had sex with her unconscious body (know it was the 60’s but my god!). Guy clearly sees Rosemary as an object and part of his property that he can ‘rent’ out. Rosemary is gaslighted by pretty much every character in the film. Her male doctor (also a member of the cult) even dismisses her fears when she confides in him. The doctor sends her back to her abusers. Reminiscent of women’s pain being dismissed by the medical community for centuries.
5:Drag Me to Hell
Sam Raimi’s 2009 film Drag Me to Hell has the most interesting fan interpretation. Many fans believe the film is a metaphor for eating disorders.
The film’s protagonist Christine (Alison Lohman) is a perfectionist and people pleaser which are personality traits known to be susceptible to eating disorders. The opening shot of the film has Christine looking longingly at desserts through a shop window with a pained expression on her face. At one point in the movie; a slice of cake develops an eyeball and stares at Christine.
Both vomit and Christine being vomited on is a big component of the film to the point of being beyond gratuitous. We also find out that Christine used to be a heavy child and had a traumatic childhood with her father dying and her mother succumbing to alcoholism, this type of upbringing is prime for developing an eating disorder. In the movie when Christine is upset she eats ice cream because she ‘doesn’t care anymore’ despite telling her boyfriend she is lactose intolerant.
In a broader sense, the film’s narrative has Christine being stalked by a demon wanting to (you guessed it) drag her to hell. Many sufferers reimagine their illness(s) as monsters or demons as a coping mechanism.
4: The Babadook
The Babadook (2016) monster is believed to be the representation of the mother Amelia (Essie Davis) grief and depression over the loss of her husband. The Babadook is a monstrous accumulation of all the negative feelings and memories Amelia has been repressing since her husband’s death. Her seven-year-old son asks her not to let Mister Babadook into the house and not let the bad feelings in. Ultimately the mother and son discover you can’t fully get rid of the Babadook (bad feelings, bad memories) so they lock him in their basement and feed the monster dirt and worms once a day. Worms and dirt can represent death and decay like Amelia is accepting the death of her husband. Amelia has also opened a literal can of worms by letting these feelings into their life. Grief and depression don’t just disappear, you need to acknowledge and accept them and sit with them even if it’s just once each day.
3: The Witch
Like Rosemary’s Baby, The Witch (2015) is open to many different interpretations. But the most common is the fear of female sexuality. New England Puritan society was the ultimate patriarchy. The Puritans believed women to be not only lesser but more susceptible to evil. The film’s protagonist Thomasin (Anya Taylor-Joy) grows up in this belief system. Thomasin’s age is not explicitly stated anything between 15 – 18. Old enough that her burgeoning sexuality would be considered a problem by her family. Her younger brother even lusts after her as he has never been in contact with other females. Thomasin is blamed for all the families ‘sins and problems to the point where her parents discuss selling her into servitude.
Puritan women could look forward to a life of household labor, childbirth, and being blamed for pretty much everything. During the Salem Witch Trials ‘witnesses’ attempted to use spectral evidence to condemn the women. Having dreams about the women coming into their bedrooms and trying to ‘tempt’ them. Which is basically just blaming the condemned women for their own sexually charged dreams and/or fantasies. Women essentially died because men fantasized about them. In The Witch the family’s sins are projected onto Thomasin the same way Puritan society projected their sins onto innocent women.
Thomasin is liberated from this life by Black Philip (Satan in disguise) and becomes a witch. Why when she is levitating in the woods she is laughing, now she can live deliciously.
2: X
Ty West’s 2022 offering X could be a commentary on the fear of growing old, particularly women; losing their looks and perceived sexual power over men. The character of Pearl is jealous of Maxine’s youth, beauty, and freedom. When the two meet Pearl’s old and frail hand is seen longingly stroking Maxine’s bare back. The movie could also illustrate the struggle to combine your past and present selves. Both Pearl and Maxine are played by Mia Goth. In one scene Pearl is seen brushing her hair and doing her makeup similar to that of Maxine’s. Pearl even gets into bed with a sleeping Maxine.
The film also explores the loss of sexual virility and desire. It is fitting as Maxine and her group are trying to covertly film an X-rated movie on Pearl’s farm. Pearl and her elderly husband rectify this cognitive dissonance by having sex in Maxine’s bed with Maxine hiding underneath.
1:IT Follows
IT Follows (2015) is a fantastic subversive look into the meta world of a brilliant horror movie. IT Follows is so expertly nuanced that fans have been debating over its meaning. A sexually transmitted monster could be easily translated into multiple metaphors. Everything from an STD metaphor to rape culture, even a pandemic.
The metaphor I find the most compelling is the monster being a metaphor for death. It has to be said most horror movies are in some way a metaphor for death but IT Follows explores it in such a unique way. The young female protagonist Jay (Maika Monroe) has sex and inherits the monster from her partner. Sex does not open the door to self-actualization and adulthood as young people expect. Instead life becomes scary as you are stalked by a faceless monster. The young cast in the film are made aware of their own mortality and all they can is have sex and pass on the monster.
Like SMILE the monster borrows faces from strangers and the protagonist’s loved ones. There is no rhyme or reason to why and when the monster chooses which faces. Much like death, we try to make it logical but no one understands it. Ironically there is a French phrase ‘la petit mort’ meaning a little death or brief loss of consciousness during sex. In the movie having sex is the only thing that keeps the monster away however briefly. The world of IT Follows has no exact time period. There is a mix of past, present, and future technology and styles. This could represent the fact that Jay’s realization spans across human history.
Jay stares at screens, tries to eat, and spends time with her friends to try and distract herself from the slow trudging monster following her. She doesn’t know where and she doesn’t know when but it’s coming. Fans have commented that many of the casts conversations in the movie are very mundane and so unlike the manufactured conversations of movies. It’s argued this is a commentary on how we are all just sitting around waiting to die.
And on that cheerful note!
Spoilers hidden in clown makeup!
Called “The Madness of two”, the love story of Joker and Lee, is set against the backdrop of the murder trial of Arthur Fleck, imprisoned in Arkham, in 1980’s Gotham City.
It’s almost impossible to believe that the film’s director and writers would do this to a character they professed to come to love by the end of the first, admittedly divisive, Joker film. But it happened, and it’s up there for us the audience to be, let’s be real here, tortured with. You’ve been warned.
They turned Arthur Fleck, the downtrodden character who took back his own power at the end of the first film, back into what he began this whole journey as – a victim. Even his Joker persona won’t save him from being objectified at his trial, for his lawyer keeps insisting he’s sick in the head and this “Joker” is the result, and the legion of fans out there clamoring for more are more aimless fan-atics and less revolutionaries. Though one person, a shiny little tarnished pearl set among the crazies at Arkham, stands out for Arthur in a very strong way.
The single bright spot in the whole film, ‘cuz it sure is not the skeleton-thin Joaquin Phoenix trudging about Arkham like a cowed scarecrow, is inevitably Lady Gaga as the reimagined Harley Quinn, or Lee, as she introduces herself to Arthur. They meet, inevitably enough, at music class. And suddenly, Arthur’s heart finds song again! Lee loves Arthur, or rather Joker, with an intensity that actually shocks him awake for a short while. And we see small, short flashes of our beloved madman in his iconic makeup, as he madly pirouettes his way through representing himself at his own trial, defiant in his sharp-angled clown look, his voice flitting effortlessly between entertaining characters, accompanied by musical numbers straight from Jokers cerebral cortex, fully imagined and surreal, joyous and loud, impossible to deny or ignore. Which, remember from the first film, was the whole point folks. Gaga carries in every single musical number, and there is always a just barely-there sense of her singing being just the tiniest bit off, like you know that note and that note was wrong, but she did that on purpose to demonstrate Lee’s own version of reciprocating madness. It’s genius ya’ll, but rather than being any kind of uplifting, the duets especially that Lee does with Joker are a musical dive further into madness. Lee wants Arthur to split and for Joker to explode and entertain and be alive, and nothing will stand in her way. Even enduring an, I kid you not so be prepared for it, totally awkward sex scene.
It turns out, the villain of the film is actually Lee herself. Her carefully crafted fan-cast ways are quite believable, a testament to Mother Monsters excellent acting abilities, but in fact it’s all wrong. In what is arguably DC’s most legendary abusive relationship, Joker is the villain and Harley Quinn is his, however willing, victim. Definitely not the other way around, which is what is presented here in Folie au Deux. And while I applaud a Harley Quinn offered to us as a calculating femme fatale finally, this reduces our formerly powerful Joker to a shell of even Arthur Fleck. This is not what we, the audience, are here for.
The amount of abuse Arthur suffers throughout the film is appalling, and made more so because there is no delicious payoff like in the first film. Joker does not snap and go on a killing spree, or give a joyously psychotic rant, no, he confesses. Traces of the Joker makeup he wore so defiantly in court still remain, but our clever mastermind clown prince of crime, or what he could have been, is reduced to this blubbering, maniacally laughing, apologetic thing on his last stand.
After the trials inevitable conclusion, the torture doesn’t end for poor Arthur, oh no. Lee is gone, the music in his head has ceased, and things at Arkham with everyone’s favorite singing guard Jackie Sullivan (Brendan Gleeson) is about to take a turn for the seriously worse.
The movie has a well-earned R rating and though it isn’t graphic per se, no one in the audience wanted to share head-space with the strongly implied image of Brendan Gleeson having to act out raping Joaquin Phoenix, broken and beaten and lost, utterly powerless.
Also, tell me in a movie that we’re set in the 1980’s without telling me we’re in the 80’s – damn near every single last character is smoking. Like, constantly. Throughout most of the musical numbers too. Hell, the first thing Arthur Fleck says of any note in the movie, is to ask his interviewer for a cigarette. Likely even unconsciously divisive with the audience, the smoking emphasizes the melancholia of most of the characters and indeed, the very grungy atmosphere of 80’s Gotham City.
The director already said that this version of the Joker isn’t the “real one”, which harkens back to the time of the TV show Gotham, who gave credence to the notion that Joker ideals and madness could be spread like a plague and therefore anyone could in theory be Joker, and this theory holds at the very end of the film and what the assassin does to himself in the blurred, blood-soaked background. Which, hey, I’m fine with the idea of these Joker films being one-offs in a separate but attached DC-verse, but it only makes one pity poor Arthur Fleck even more. Not even the real madman, just a depressed little would-be clown, betrayed by everyone, totally alone. All Arthur ever wanted was to entertain people, and surely the sequel does that idea up big, with larger-than-life musical numbers, dancing and costumes and a love story for two very widely known characters, but in the most grim-dark depressingly bleak manner possible. It mostly really is all in Arthur’s head, after all. None of the truly beautiful parts are real. And that thought is truly depressing, for it’s as close to real life as one is going to get inside the DC-verse. It’s kind of like we the audience are betraying Arthur too, because we’re watching his life unraveling as a form of consumer entertainment. And I don’t watch films for a guilt trip, thank you.
One could say that no matter what strong opinions one has about the movie – and there are many, the Press section in my theater when I saw the film was absolutely abuzz with mostly strongly negative emotions – harkens back to the old thought of, it doesn’t matter if the conversation is positive or negative, you’re still talking about me. Even so, with the film hitting theaters recently and opinions pouring in, scales are leaning more and more towards, “I don’t like it.” Giant do-ups of grandly realized musical numbers, arguably a pair of the biggest stars in the artist world today in the titular roles, and a whopping you-wouldn’t-believe-how-much budget can’t save the Joker sequel from the folly of its own aspirations of … I’m not even sure what. See the film, and you tell me what you think is being presented here.
Listen in for the tears of a clown in Joker Folie au Deux in theaters now!
James Earl Jones, with his booming voice and commanding presence, has left an indelible mark on the film industry. From regal kings to fearsome villains, his versatile talent has made him a household name across generations. As a tribute to his extraordinary career, we take a look back at the top 10 favorite James Earl Jones movies—films that highlight the range, depth, and sheer power of his acting.
1. The Lion King (1994)
Overview: James Earl Jones’ portrayal of Mufasa in Disney’s The Lion King is iconic. His powerful voice gives life to the wise and noble lion king, delivering lines that have become part of cinematic history. The father-son bond between Mufasa and Simba resonates with viewers, making this role a cherished one in his filmography.
2. Star Wars: Episode IV – A New Hope (1977)
Overview: Perhaps no other role defines Jones more than his vocal portrayal of Darth Vader in Star Wars. His deep, menacing voice made Darth Vader one of the most feared and beloved villains in movie history. Though he was never physically on screen, his contribution to Star Wars is unforgettable.
3. Coming to America (1988)
Overview: In this beloved comedy, James Earl Jones plays King Jaffe Joffer, the proud and slightly intimidating father of Eddie Murphy’s Prince Akeem. His regal demeanor and comedic timing add a layer of humor and heart to this fish-out-of-water tale.
4. Field of Dreams (1989)
Overview: In Field of Dreams, James Earl Jones plays Terence Mann, a reclusive writer who delivers one of the most memorable monologues about baseball ever written. His performance, full of grace and wisdom, elevates the film to new emotional heights.
5. The Hunt for Red October (1990)
Overview: Jones’ portrayal of Admiral James Greer in this Cold War thriller cemented his status as a versatile actor. His calm and authoritative presence contrasts perfectly with the tension of the naval conflict, making his performance unforgettable.
6. Patriot Games (1992)
Overview: Reprising his role as Admiral Greer, Jones stars alongside Harrison Ford in this political thriller. His calm leadership and wisdom guide Ford’s Jack Ryan through a maze of political intrigue and danger.
7. The Great White Hope (1970)
Overview: Based on the true story of boxer Jack Johnson, The Great White Hope showcases Jones in one of his earliest and most powerful roles as Jack Jefferson. His portrayal earned him an Oscar nomination and solidified his place as a serious dramatic actor.
8. Conan the Barbarian (1982)
Overview: In Conan the Barbarian, Jones plays Thulsa Doom, the fearsome villain who faces off against Arnold Schwarzenegger’s Conan. His transformation from a charismatic cult leader to a ruthless sorcerer is chilling, adding depth to this fantasy epic.
9. Cry, the Beloved Country (1995)
Overview: In this powerful drama, Jones portrays Reverend Stephen Kumalo, a man searching for his son during the turbulent apartheid years in South Africa. His performance is deeply emotional and human, highlighting the pain and resilience of those living through apartheid.
10. Matewan (1987)
Overview: Set during the 1920s coal miner strikes, Matewan sees Jones playing a labor leader advocating for the rights of workers. His portrayal adds a sense of dignity and strength to this historical drama about the fight for justice.
2024 has been an emotional rollercoaster for moviegoers. Whether it’s the power of love, devastating loss, or the triumph of the human spirit, films this year have brought plenty of tears. From heart-wrenching dramas to unexpected moments of sadness in blockbusters, these are the top 10 movies in theaters this year that made us cry.
1. Oppenheimer
Overview: Christopher Nolan’s biographical drama about J. Robert Oppenheimer, the father of the atomic bomb, leaves viewers reflecting on the weight of history and the moral dilemmas faced by the man who changed the world forever. The movie’s emotional depth builds as Oppenheimer grapples with guilt and the consequences of his creation.
Why It Made Us Cry: The intense portrayal of Oppenheimer’s inner turmoil and the devastating effects of the atomic bomb hit hard, leaving the audience grappling with the emotional fallout of war and ethics.
2. Past Lives
Overview: Past Lives is a moving story about two childhood friends who reconnect after years apart, exploring the ideas of fate, love, and missed opportunities. The film’s subtle storytelling and emotional resonance leave a lasting impact.
Why It Made Us Cry: The deep emotional connection between the characters and the bittersweet nature of their relationship, filled with “what ifs,” pulls at the heartstrings.
3. A Good Person
Overview: Directed by Zach Braff, A Good Person features Florence Pugh and Morgan Freeman in an emotional exploration of grief, forgiveness, and healing. Pugh’s character navigates the aftermath of a tragic accident that upends her life.
Why It Made Us Cry: The raw performances and the movie’s powerful themes of loss and redemption create intense, tear-jerking moments.
4. The Whale
Overview: Brendan Fraser’s transformative performance in The Whale as a reclusive man struggling with obesity and seeking to reconnect with his estranged daughter is devastating and heart-rending.
Why It Made Us Cry: The portrayal of Fraser’s character’s desperation for redemption, along with his physical and emotional suffering, brings an overwhelming wave of sadness.
5. The Color Purple (2024)
Overview: The 2024 musical adaptation of The Color Purple revisits Alice Walker’s powerful story of resilience, love, and sisterhood. The film, directed by Blitz Bazawule, beautifully captures the emotional highs and lows of the characters’ lives.
Why It Made Us Cry: The film’s exploration of trauma, perseverance, and family bonds, paired with soul-stirring performances, evokes tears from beginning to end.
6. The Last Voyage of the Demeter
Overview: While The Last Voyage of the Demeter might seem like a horror film on the surface, its depiction of isolation, fear, and tragedy aboard a doomed ship draws out surprising emotional depth.
Why It Made Us Cry: The haunting story of loss and survival, combined with the eerie atmosphere, gives viewers moments of intense sorrow amid the terror.
7. Barbie (2024)
Overview: Greta Gerwig’s Barbie may be filled with fun and laughter, but it also packs an unexpected emotional punch. The film touches on themes of self-acceptance, identity, and the complexities of womanhood in a patriarchal world.
Why It Made Us Cry: Underneath the vibrant colors and witty humor, Barbie delivers poignant moments about finding one’s true self and the bittersweet experience of growing up.
8. Maestro (2024)
Overview: Maestro is a biopic about legendary composer Leonard Bernstein, played by Bradley Cooper. This film delves into Bernstein’s personal and professional struggles, particularly his complicated relationships and his pursuit of artistic perfection.
Why It Made Us Cry: Cooper’s portrayal of Bernstein’s emotional vulnerabilities and his strained marriage with Felicia Montealegre (played by Carey Mulligan) hits all the right notes, delivering heart-wrenching moments of love, regret, and loss.
9. All of Us Strangers (2024)
Overview: All of Us Strangers is a surreal drama that tackles themes of love, memory, and loss. The film, starring Andrew Scott and Paul Mescal, takes viewers on an emotional journey as a man reconnects with his long-lost parents in a haunting and unexpected way.
Why It Made Us Cry: The film’s exploration of grief and longing for connection strikes deep emotional chords, creating moments that stay with viewers long after the credits roll.
10. The Boy and the Heron (2024)
Overview: This animated masterpiece from Studio Ghibli is a coming-of-age story set in a fantastical world, directed by the legendary Hayao Miyazaki. It weaves themes of grief, growing up, and learning to move forward after loss.
Why It Made Us Cry: Studio Ghibli’s signature mix of whimsy and emotional depth is on full display, as the film tenderly explores the complex emotions of growing up and
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