Vanessa Maki with ten horror films that subvert audience expectations…
Whether you’re a seasoned horror fan or not, sometimes it’s cool to have your expectations shattered, rather than getting exactly what you might be expecting out of a horror movie. Is there something wrong with a films that do the opposite? Nope! However, it’s nice to be surprised sometimes, and for that surprise to change how you view a film. It doesn’t matter what subgenre it is, horror films that subvert audience expectations are often the films that get discussed differently.
A relatively popular example of horror that subverts expectations is Funny Games (1997) or the shot-for-shot remake from 2007 with Naomi Watts. It’s one of those films that leaves people quite frustrated because of the subversions, as mainstream audiences especially are used to final girl triumphs and or a “happy ending” after terrible occurrences. Horror films like that are meant to challenge us, and thankfully there are no shortage of horror films that do subvert the expectations of their audience. Here are ten such movies (with some spoilers ahead)…
High Tension
When discussing New French Extremity, plenty of people love to mention High Tension because of the (problematic) twist. High Tension follows Marie (Cécile de France), who goes on a wild chase to get her best friend, Alex (Maïwenn) back when a maniac kidnaps her. It’s a slasher that doesn’t let up and is incredibly violent. Instead of giving its audience what they expect, as in Marie being the triumphant final girl, it throws the audience for a loop during a first-time watch. But whether it’s successful in doing so is another conversation.
Major spoiler alert: There is no disgusting man who is going around and murdering people or kidnapping them, it’s only Marie. The reason it’s problematic is that Marie is queer, in love with Alex, and her queerness is seen as villainous. Her internalized homophobia and repressed desire is why everything unfolds the way it does in High Tension. Though, you are allowed to appreciate the film for its boldness in subverting expectations, and it’s certainly a horror film that perfectly fits the bill in that respect.
Shuttle
The world is an ugly and scary place, and Shuttle doesn’t pretend otherwise. Shuttle follows two best friends who are on trying to get home after a trip, only to be kidnapped by a man driving an airport shuttle, who won’t tell them why they’re being taken. The hopeless tone throughout the film doesn’t suggest that a happy ending is in sight. But this horror-thriller presents a few moments in which viewers think it might be possible.
Without revealing too much about what the film is exactly about, there is no hope for anyone. The subversion comes from one of the characters being depicted as a possible survivor, someone that we typically see prevail in a horror movie. Unfortunately, that’s not what we’re offered by the time the credits roll. What happens to both women is up for you to find out, but expect to have your expectations, during a certain moment, be shattered.
Triangle
It’s still an underrated horror movie overall, and it should be appreciated more for its twists and subversions in several respects. Triangle follows a single mother whose boat trip with friends turns into a nightmare, and she finds herself stranded with them on an abandoned ship. Of course there’s someone on there, who is looking to kill them. And while people might expect a typical slasher, this a full-blown psychological horror film that makes your brain work overtime with its reveals.
The clever twists and the disturbing nature of what’s really going on is delightful for viewers. It would’ve been cool too if this had been a solid boat-set slasher, but throwing your audience for a loop is intriguing with the premise. Not to mention how ironic that previous term of phrase is in hindsight. The subversion isn’t simply in the subgenre, it’s also in why and what exactly is happening, as well who our main character really is.
The Strangers
Home invasion horror doesn’t always involve antagonists/villains who have no personal motivation, but when they do, it’s even more terrifying. The Strangers follows a couple whose already complicated stay at a family vacation home, turns into a hellish night when they are terrorized by three-masked strangers. Instead of the motivation of this break-in being money, vendettas against either Kristen (Liv Tyler) or James (Scott Speedman), or anything, this film breaks the expectations we typically have. It’s not a bloody slasher with several kills, the focus is more on the psychological terror and hopeless outcome by the time morning rolls around.
What we’re used to as horror fans is seeing intruders or an intruder break in, cause havoc, kill a few people, and there’s typically some sort of motivation. Meanwhile, in The Strangers, there is no Scream level motive as to why they want to kill anyone. They simply want to because these two were home, otherwise they would’ve chosen someone else. The subversion of tropes we typically see in either the slasher subgenre or home invasion is done quite well in this dread-inducing 2000s horror gem.
The Cabin in the Woods
Say what you will about it, but The Cabin in the Woods is incredibly clever, even now. The Cabin in the Woods follows a group of friends who go on a weekend trip to a cabin, only for everything to not be as it seems and for a group of scientists to manipulate their circumstances. The film is incredibly meta, but not only that, it completely subverts what audiences might be expecting by giving them what they expect. There are purposely placed tropes, though the characters are merely falling victim to their tropes without wanting to. Not to mention, the characters are a group of likable people, who stood no chance in the first place.
The meta in The Cabin in the Woods is still sharp, and the commentary still makes sense for the horror landscape today. Instead of presenting us with a situation where the villains are bound to fail, we’re left with a situation that is detrimental to the characters and everyone else in that universe. It’s one of those films that is cleverly subversive, and also quite funny in how it is. The film is one that you can throw on whenever and be satisfied with your decision because of that.
Scream 4
For many years, people disliked Scream 4, despite how much more timely it is now. Scream 4follows Sidney (Neve Campbell)’s return to her hometown of Woodsboro after 10 years, and a new string of Ghostface killings begin again. It might not seem like it subverts any tropes, but it absolutely does, especially in its killer reveal. Whether you love this entry or not, the film absolutely surprised many people with who ended up being one of the killers.
Scream 4 is full of commentary, much like previous entries, about the state of horror at the time as well as the timely exploration of social media fame, and what people are willing to do for it. Rather than giving us final girls who triumph during the killer reveal, we’re presented with the opposite. There’s much to appreciate about what this film does and how it subverts the final girl trope, as well as the focus of the film entirely. The ushering of a new generation was going to happen, it’s just that Scream 4 didn’t do great that we failed to get that.
Would You Rather
The rich getting away with insidious behavior is real-life, and Would You Rather isn’t afraid to remind people of that. Would You Rather follows Iris (Brittany Snow), a young woman who needs money to help her and her brother, leading her to attend a dinner that isn’t what it seems. All the dinner attendees are struggling financially and the wealthy host Shepard Lambrick (Jeffery Combs) is charismatically horrible. He doesn’t want to help anyone, instead he enjoys watching people put their bodies or others through hell out of desperation. And the subversion lies in how there is no escape for anyone involved, their circumstances are horrible either way.
Iris is obviously the main character out of the attendees, therefore her survival isn’t unexpected. What happens throughout the film, unsuccessful attempts to thwart the Lambrick family, and the ending are where people find their expectations shattered. Usually the villains in these situations get what’s coming to them somehow, but there’s nothing like that in Would You Rather. And if that doesn’t throw you, then the ending absolutely will.
Better Watch Out
The twist of this film is something you need to discover for yourself. Better Watch Out follows a babysitter named Ashley (Olivia DeJonge) who is forced to keep the boy she’s babysitting safe on Christmas Eve, only for everything to turn upside down. It’s hard to discuss this film without completely spoiling the twist, but what can be said is that what you think is going initially isn’t what’s happening. The home invasion angle isn’t everything that it seems, and Ashley is in a different type of danger in that house.
Viewers will find their expectations are thrown out the window, but they’ll also be frustrated by that. Better Watch Out isn’t trying to be typical in its execution, instead it’s hoping you find yourself frustrated. You are supposed to be rooting for Ashley from start to finish, but will the ending be expected? That’s up to viewers who have never seen the film to find out.
In a Violent Nature
It’s slow and takes it time, but In a Violent Nature takes a unique approach. In a Violent Nature follows a killer who is resurrected, and thus he begins his journey of revenge and murderous actions. It’s set in Canada and the perspective is primarily from the killer’s, not the victims. What it forces us to do is follow what Johnny (Ry Barrett) is doing, and thus our expectations of seeing a final girl showdown are thrown out of the window. Typically in slashers, we’re dealing with final girls and their reactions, but the immediate subversion comes from Johnny being our primary perspective.
In a Violent Nature not only swerves expectations that fans might have by utilizing its unique premise, but when the ending also forces its audience to expect another scare. When it doesn’t come, that’s when it becomes clear how conditioned we are as horror fans for the most obvious occurrences. There’s nothing wrong with them, though it’s also interesting to shed a particular expectation.
Strange Darling
A woman in peril isn’t something that’s new in horror, but what happens when a woman is much more capable than she seems? Strange Darling follows a nonlinear story revolving around a woman (Willa Fitzgerald) and a man (Kyle Gallner), who embark on a disastrous game of cat-and-mouse. When people shed their expectations surrounding women in horror, as well who is and isn’t a villain, their experience with a film can change. And while Strange Darling isn’t loved by everyone, it cleverly presents one narrative, only to shatter it later.
The nonlinear storytelling is a subversion in and of itself in terms of what we get from stories like this. Occasionally that doesn’t work for a film, but with this one it mostly does. Finding out much later about what’s going on leaves you questioning everything you initially thought. And that’s essentially the whole point about subverting who we’re meant to be rooting for or against.
What are your favourite horror movies that subvert audience expectations? Let us know on our social channels @FlickeringMyth…
Vanessa Maki
