Three Things We (Horror Folk) Can Learn from The Mooring

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  1. Horror can still be very disturbing and very complete without gore and nudity Is there even any profanity in The Mooring? I can’t think of it, if there is. Which isn’t to say over-the-top gore isn’t a complete riot, just all kinds of fun. I like it when I have to hide my eyes. Last time that happened, I guess, would have been Excision. First time? Probably The Exorcist. Well, okay, The Eyes of Laura Mars, but that wasn’t from gore, but absolute, undiluted terror; I was eight, I think. But, nudity in horror—for a long time the theory (or, maybe, just the practice?) was that it was enough of a pendulum swing the other way from gore that it allowed the visual palette of the film to achieve a kind of balance. Or is that just a rationalization? It could have been just as simple as the filmmakers knowing that, even if the story was thrown together and the production poor, there was still one way to lure their target demographic to the drive-in. One way that’s significantly cheaper than hiring a Tom Savini or a Kevin Williamson. And sometimes I think nudity in horror—in the slasher in particular—is just the director being all leery, taking advantage of girls fresh off the bus, as it were. It’s not called exploitation cinema for nothing. And nudity could even be setting the audience up to be punished, I suppose: if it’s thrilled when the clothes are peeled off, then what about when the skin  . . . → → →