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Millennial Nasties: Analyzing a Decade of Brutal Horror Film Violence
Torture porn, shock-for-shock’s sake, violence that doesn’t serve the plot, and characters you hate - what was going on in the 2000s in horror cinema? And why were audiences hungry for it? Millennial Nasties takes a critical but appreciative look at an oft-ignored subset of horror. This book dissects the English-language horror films of the 2000s and the cultural events they were responding to. Processing tragedy and war throughout the world, keeping pace with films from other countries, and swinging wildly away from the safe horror of the 1990s, the 2000s brought grisly kills and shocking gore to cinema audiences and home viewers. Films once dismissed as torture porn, their nasty slasher friends, and the remakes of this era have found a new home, and that home is a subgenre called Millennial Nasties.
Foreword by Zoë Rose Smith, founder and owner of Zobo With A Shotgun and EIC of Ghouls Magazine.
Foreword by Zoë Rose Smith, founder and owner of Zobo With A Shotgun and EIC of Ghouls Magazine.
194 pages, Kindle Edition
First published September 17, 2024
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October 29, 2024
Many months later update: this book changed my life and actually deserves 5 stars. Ariel you are a goddess and I worship at your altar.
Original review:
I received an advance review copy for free, and I am leaving this review voluntarily. 4 stars and a recommendation for Millennial Nasties by Ariel Powers-Schaub. This book explores the “torture porn” of the aughts, from Saw, to Hostel, to Wrong Turn, to the Final Destination franchise. As a lover of horror and associated non-fiction, I knew I had to pick this up. It did not disappoint! The author explains that it’s not meant to be an academic text, but I believe it provides enough analysis that it in itself could be an academic text. I do wish there had been a few more supporting citations, but I found the analysis strong enough to stand on its own. The book definitely raised some interesting points for me. One thing I never realized is my favourite goth cult classic, Repo! The Genetic Opera, is technically a body horror? But the way Powers-Schaub frames it, it makes so much sense! I could really feel Powers-Schaub’s passion for millennial nasties and it inspired me to get back into horror movies. I was never able to handle the Saw movies (body horror isn’t my favourite), but after reading this book I’m very tempted. I also appreciated the brief summaries of the movies mentioned, as I hadn’t seen all of them. I enjoyed the exploration of Hostel, as I hadn’t known it’s essentially an ode to horror lovers! Now I definitely have to watch it! Overall, this really intrigued me and it was a super quick but informative read. I would highly recommend to any horror lovers out there. I also liked that Powers-Schaub honoured previous “nasties” (banned and challenged horror movies) with the title of this book. This was also something new for me, and I definitely came out of this read feeling enlightened. I may even start posting reviews of horror movies on here to really encapture the #spooky of it all.
The only thing I noticed was that Paris Hilton, in the Six Degrees of SAWperation, wasn’t mentioned as connecting Repo! to House of Wax.
Original review:
I received an advance review copy for free, and I am leaving this review voluntarily. 4 stars and a recommendation for Millennial Nasties by Ariel Powers-Schaub. This book explores the “torture porn” of the aughts, from Saw, to Hostel, to Wrong Turn, to the Final Destination franchise. As a lover of horror and associated non-fiction, I knew I had to pick this up. It did not disappoint! The author explains that it’s not meant to be an academic text, but I believe it provides enough analysis that it in itself could be an academic text. I do wish there had been a few more supporting citations, but I found the analysis strong enough to stand on its own. The book definitely raised some interesting points for me. One thing I never realized is my favourite goth cult classic, Repo! The Genetic Opera, is technically a body horror? But the way Powers-Schaub frames it, it makes so much sense! I could really feel Powers-Schaub’s passion for millennial nasties and it inspired me to get back into horror movies. I was never able to handle the Saw movies (body horror isn’t my favourite), but after reading this book I’m very tempted. I also appreciated the brief summaries of the movies mentioned, as I hadn’t seen all of them. I enjoyed the exploration of Hostel, as I hadn’t known it’s essentially an ode to horror lovers! Now I definitely have to watch it! Overall, this really intrigued me and it was a super quick but informative read. I would highly recommend to any horror lovers out there. I also liked that Powers-Schaub honoured previous “nasties” (banned and challenged horror movies) with the title of this book. This was also something new for me, and I definitely came out of this read feeling enlightened. I may even start posting reviews of horror movies on here to really encapture the #spooky of it all.
The only thing I noticed was that Paris Hilton, in the Six Degrees of SAWperation, wasn’t mentioned as connecting Repo! to House of Wax.
July 24, 2024
Millennial Nasties is a study of the early 00s horror genre known as “torture porn”. I was in film school during that period and vividly remember them coming out. Needless to say, as film school brats, we weren't massive fans of them even then. Maybe it's because we were A) A British film school and so removed from the genre (which is primarily American/mainland Europe/Australian), B) We were looking at and studying older films as the author herself points out, and C) Many of us were fans of the more traditional horror films.
However, for those outside of the UK film school to BBC pipeline, these films were devoured by millions hungry to see what the fuss was about. And these films packed out theatres to the point where the film-makers realised that they could get very good returns for very little budget. For example, the original Hostel had a budget of $4.8million and bought in $82,000,000. Much like their earlier incarnations from the 60s, 70s, and 80s torture porn films were cheap and quick to make and had people lining up to see them.
Millennial Nasties is a book that will be studied by future generations. This is a book that, in another year or so, you'll start to see in film and art schools across the world. And it's a much needed book. For, as violent as the genre is, it has a place in the history of cinema and needs to be documented by someone who was there and witnessed it first hand. While there are those of us who spurn the genre for being over the top and gratuitous, it's important that the genre itself is given a chance to stand shoulder to shoulder with every other horror genres.
Four stars because there are periods of repetition and several grammar errors that could do with looking at (coming from a film-maker turned publisher!). Other than that, an outstanding book for anyone who's a fan of the genre, or of horror itself.
I received an advance review copy for free, and I am leaving this review voluntarily.
However, for those outside of the UK film school to BBC pipeline, these films were devoured by millions hungry to see what the fuss was about. And these films packed out theatres to the point where the film-makers realised that they could get very good returns for very little budget. For example, the original Hostel had a budget of $4.8million and bought in $82,000,000. Much like their earlier incarnations from the 60s, 70s, and 80s torture porn films were cheap and quick to make and had people lining up to see them.
Millennial Nasties is a book that will be studied by future generations. This is a book that, in another year or so, you'll start to see in film and art schools across the world. And it's a much needed book. For, as violent as the genre is, it has a place in the history of cinema and needs to be documented by someone who was there and witnessed it first hand. While there are those of us who spurn the genre for being over the top and gratuitous, it's important that the genre itself is given a chance to stand shoulder to shoulder with every other horror genres.
Four stars because there are periods of repetition and several grammar errors that could do with looking at (coming from a film-maker turned publisher!). Other than that, an outstanding book for anyone who's a fan of the genre, or of horror itself.
I received an advance review copy for free, and I am leaving this review voluntarily.
December 29, 2024
Ariel Powers-Schaub analyzes a plethora of films she dubs "Millennial Nasties" from the 2000-2009 time period, drawing parallels between the nastiness of these films and the "Video Nasties" of the mostly 70s/early 80s.
Like the author, I grew up with these films and with some time and space it is interesting to reexamine them within their particular context. Going back and revisiting some of these films leaves me struck with how "2000s" they feel. They are nasty in a particularly edgelord/post-9/11, misogynistic aughts way that would be terribly and rightfully out of place today (a reflection of the American culture they were created in). But they also have their own merits and offer some interesting insights into that particular time period.
I thought this was going to focus more specifically on so-called "torture porn" movies like the Saw and Hostel franchises, but it also dips into other notably mean-spirited films like the 2006 Black Christmas, Rob Zombie's Halloween adaptations, and even ones I did not expect to see in a roundup like this (e.g. Joy Ride and The Strangers). I was also surprised at some exclusions like Friday the 13th and My Bloody Valentine 3D.
This is some delightful nostalgia for those of us with an appreciation for these films as well as some thoughtful analysis of their shared DNA and perspectives on gore & violence. They would eventually make way for more slow burn, trauma-focused horror of the 2010s (although the Terrifier movies eventually come along and steer us right back to Video Nasties territory so it all loops back around again). A worthy and accessible read for fans of horror film analysis.
Like the author, I grew up with these films and with some time and space it is interesting to reexamine them within their particular context. Going back and revisiting some of these films leaves me struck with how "2000s" they feel. They are nasty in a particularly edgelord/post-9/11, misogynistic aughts way that would be terribly and rightfully out of place today (a reflection of the American culture they were created in). But they also have their own merits and offer some interesting insights into that particular time period.
I thought this was going to focus more specifically on so-called "torture porn" movies like the Saw and Hostel franchises, but it also dips into other notably mean-spirited films like the 2006 Black Christmas, Rob Zombie's Halloween adaptations, and even ones I did not expect to see in a roundup like this (e.g. Joy Ride and The Strangers). I was also surprised at some exclusions like Friday the 13th and My Bloody Valentine 3D.
This is some delightful nostalgia for those of us with an appreciation for these films as well as some thoughtful analysis of their shared DNA and perspectives on gore & violence. They would eventually make way for more slow burn, trauma-focused horror of the 2010s (although the Terrifier movies eventually come along and steer us right back to Video Nasties territory so it all loops back around again). A worthy and accessible read for fans of horror film analysis.
September 22, 2024
Film buffs often have a particular fondness for the first movies they remember and appreciate. My first movie memories date from the 1960s, and I developed a fondness for many films I first saw during that decade. Ironically, when I saw them again as an adult on video decades later, several of my “favorites” weren’t nearly as good as they had seemed to an impressionable teenager. Like me, Ariel Powers-Schaub is a film devotee. Her formative decade was the 2000s, and her passion is horror movies. Specifically, the type of extreme horror often dubbed “torture porn.” She has written a book, “Millennial Nasties,” about several of her decade favorites. The book contains some interesting technical analysis of these movies and what they often have in common. However, the author makes a fundamental error that drags the book down. She tries to attribute greater social and cultural significance to movies that are just genre entertainment.
In her introduction, the author describes the defining characteristics of torture porn: “a focus on over-the-top violence that’s neither realistic nor cartoony… bleak stories; green and yellow lighting and filters giving the films a sickly look; a grittiness in the filmmaking that reflects a low budget or tries to emulate one; creative set pieces that result in death and pain…” Although these films have been around before and after the decade of the 2000s, she uses the titular term “millennial nasties” to refer to the movies made in this decade. This description excludes many popular horror films, as well as almost all popular non-horror movies. So, her intended audience is that sizable subgroup of fans (judging by the box office and video/streaming totals) who enjoy movies like the “Saw” franchise.
In fact, the “Saw” films are the first ones the author describes. She divides the book into three sections: The Nastiest Millennial Nasties, Original Slashers, and The Era of Remakes. The “nastiest nasties” section includes most of the movies that came to mind when I saw the description. Besides the “Saw” movies, the author discusses “Hostel” and its sequel, most of the Rob Zombie films from that decade, and “The Strangers.” The slashers section includes the “Final Destination” and “Joy Ride” films. And, as you might guess, the remakes include newer versions of genre classics like “The Texas Chainsaw Massacre,” “Halloween,” “Last House on the Left,” and “Dawn of the Dead.” Each film has its own chapter, most of them two or three pages long.
I enjoy well-made horror movies and have seen most of the films in “Millennial Nasties” during their original theatrical releases, but not since. However, I was not familiar with some of them (a few went directly to video). For each movie showcased in the book, the author includes a synopsis of widely varying detail and mentions the director and principal cast members. Some synopses gave me a good idea of the film’s plot; others just offered vague information. The author also described how each film fits within her definition of torture porn. (She candidly admitted not all the movies “checked off all the boxes.”) I found her discussion of the films’ lighting revealing. I knew that most of these movies looked dingy and dirty, but I had never paid attention to how they were lit.
The author devotes considerable time in “Millennial Nasties” to discussing the similarities and differences between the so-called millennial nasties and other popular horror films like the “Scream” franchise that extended into the 2000s. She also points out differences between this decade’s remakes and the original versions of the classics. Some are obvious (more graphic violence and more nudity), while others are insightful. For example, she points out villains like Michael Myers are given more extensive backstories (and shown as children) in the remakes than in the originals.
Unfortunately, the author isn’t content with discussing these movies from a technical standpoint or offering critical reviews. Instead, she often tries to find social significance in them. For example, she tries to point out the influence that 9/11 may have had on these movies. Other than the first “Final Destination” movie, which was released before 9/11 and used an airport setting in its opening set piece that became outdated soon afterward, I failed to see any impact the tragedy had on these films. She also discusses the familiar horror tropes like the “final girl” and how millennial nasties sometimes honor the trope and sometimes don’t. Her explanations for the dichotomies varied from movie to movie.
In trying to explain why millennial nasties pushed the envelope as far as graphic violence and nudity were concerned, the author overlooks the most obvious explanation. By the year 2000, there was a growing market for PG-13 horror. These films substituted clever camera work and character development for blood and gore. Movies like “The Others” and “The Ring” were critically and commercially successful. Producers of millennial nasties competed by giving audiences what the PG-13 horror films couldn’t: copious amounts of gore and violence.
I was also disappointed by the relative lack of biographical information about the actors and directors involved and any behind-the-scenes details. Tobin Bell is the essential force behind the “Saw” movies, but readers learn little about him (as opposed to his character’s peculiar sense of morality). The author discusses how the “Saw” franchise came to be, but otherwise, there is little about the making of these movies. She also includes a brief chapter at the end of the book entitled “Six Degrees of SAW-peration,” showing how various actors in the “Saw” franchise appeared in other horror films in the book and elsewhere. (This is unsurprising since actors tend to get typecast as “horror” actors. Just ask Robert Englund.) That chapter is entertaining, but “Millennial Nasties” needed more material like that.
Ariel Powers-Schaub knows horror movies and has a substantial background in film studies. In “Millennial Nasties,” however, too much knowledge is counterproductive. She repeatedly tries to find greater social significance in movies that have none. These films entertain. Characters behave as they do to move the story along or to keep the audience involved. Character types have remained the same over the decades. Occasionally, horror films provide insight into greater societal issues, like Jordan Peele’s “Get Out,” which won a Best Screenplay Oscar (and got a Best Picture nomination). However, none of the movies in this book comes within a mile of Oscar recognition. I’m giving “Millennial Nasties” a three-star rating and a very mild recommendation. Hardcore genre fans will undoubtedly like it more than I did. But it represents a misguided effort by a very knowledgeable author.
NOTE: The publisher graciously provided me with a copy of this book through BookSirens. However, the decision to review the book and the contents of this review are entirely my own.
In her introduction, the author describes the defining characteristics of torture porn: “a focus on over-the-top violence that’s neither realistic nor cartoony… bleak stories; green and yellow lighting and filters giving the films a sickly look; a grittiness in the filmmaking that reflects a low budget or tries to emulate one; creative set pieces that result in death and pain…” Although these films have been around before and after the decade of the 2000s, she uses the titular term “millennial nasties” to refer to the movies made in this decade. This description excludes many popular horror films, as well as almost all popular non-horror movies. So, her intended audience is that sizable subgroup of fans (judging by the box office and video/streaming totals) who enjoy movies like the “Saw” franchise.
In fact, the “Saw” films are the first ones the author describes. She divides the book into three sections: The Nastiest Millennial Nasties, Original Slashers, and The Era of Remakes. The “nastiest nasties” section includes most of the movies that came to mind when I saw the description. Besides the “Saw” movies, the author discusses “Hostel” and its sequel, most of the Rob Zombie films from that decade, and “The Strangers.” The slashers section includes the “Final Destination” and “Joy Ride” films. And, as you might guess, the remakes include newer versions of genre classics like “The Texas Chainsaw Massacre,” “Halloween,” “Last House on the Left,” and “Dawn of the Dead.” Each film has its own chapter, most of them two or three pages long.
I enjoy well-made horror movies and have seen most of the films in “Millennial Nasties” during their original theatrical releases, but not since. However, I was not familiar with some of them (a few went directly to video). For each movie showcased in the book, the author includes a synopsis of widely varying detail and mentions the director and principal cast members. Some synopses gave me a good idea of the film’s plot; others just offered vague information. The author also described how each film fits within her definition of torture porn. (She candidly admitted not all the movies “checked off all the boxes.”) I found her discussion of the films’ lighting revealing. I knew that most of these movies looked dingy and dirty, but I had never paid attention to how they were lit.
The author devotes considerable time in “Millennial Nasties” to discussing the similarities and differences between the so-called millennial nasties and other popular horror films like the “Scream” franchise that extended into the 2000s. She also points out differences between this decade’s remakes and the original versions of the classics. Some are obvious (more graphic violence and more nudity), while others are insightful. For example, she points out villains like Michael Myers are given more extensive backstories (and shown as children) in the remakes than in the originals.
Unfortunately, the author isn’t content with discussing these movies from a technical standpoint or offering critical reviews. Instead, she often tries to find social significance in them. For example, she tries to point out the influence that 9/11 may have had on these movies. Other than the first “Final Destination” movie, which was released before 9/11 and used an airport setting in its opening set piece that became outdated soon afterward, I failed to see any impact the tragedy had on these films. She also discusses the familiar horror tropes like the “final girl” and how millennial nasties sometimes honor the trope and sometimes don’t. Her explanations for the dichotomies varied from movie to movie.
In trying to explain why millennial nasties pushed the envelope as far as graphic violence and nudity were concerned, the author overlooks the most obvious explanation. By the year 2000, there was a growing market for PG-13 horror. These films substituted clever camera work and character development for blood and gore. Movies like “The Others” and “The Ring” were critically and commercially successful. Producers of millennial nasties competed by giving audiences what the PG-13 horror films couldn’t: copious amounts of gore and violence.
I was also disappointed by the relative lack of biographical information about the actors and directors involved and any behind-the-scenes details. Tobin Bell is the essential force behind the “Saw” movies, but readers learn little about him (as opposed to his character’s peculiar sense of morality). The author discusses how the “Saw” franchise came to be, but otherwise, there is little about the making of these movies. She also includes a brief chapter at the end of the book entitled “Six Degrees of SAW-peration,” showing how various actors in the “Saw” franchise appeared in other horror films in the book and elsewhere. (This is unsurprising since actors tend to get typecast as “horror” actors. Just ask Robert Englund.) That chapter is entertaining, but “Millennial Nasties” needed more material like that.
Ariel Powers-Schaub knows horror movies and has a substantial background in film studies. In “Millennial Nasties,” however, too much knowledge is counterproductive. She repeatedly tries to find greater social significance in movies that have none. These films entertain. Characters behave as they do to move the story along or to keep the audience involved. Character types have remained the same over the decades. Occasionally, horror films provide insight into greater societal issues, like Jordan Peele’s “Get Out,” which won a Best Screenplay Oscar (and got a Best Picture nomination). However, none of the movies in this book comes within a mile of Oscar recognition. I’m giving “Millennial Nasties” a three-star rating and a very mild recommendation. Hardcore genre fans will undoubtedly like it more than I did. But it represents a misguided effort by a very knowledgeable author.
NOTE: The publisher graciously provided me with a copy of this book through BookSirens. However, the decision to review the book and the contents of this review are entirely my own.
July 20, 2024
Big thanks to Encyclopocalypse Publications and Book Sirens for providing me with a copy of Ariel Powers-Schaub’s Millennial Nasties: Analyzing a Decade of Brutal Horror Film Violence. Although I’m a horror movie fan and I love reading about the history and themes in horror films, I’m not too familiar with the period that Powers-Schaub explores in this book. Nevertheless, I loved her passion for horror and this period roughly from the late 90s up until 2010. As she explains in her introduction, she was not writing an academic text that would be filled with references and footnotes, but rather her own personal exploration of these films, organizing them into different themes and subgenres. I also appreciated her efforts to recast these films as Millennial Nasties, moving away from the term that many of them are known by: torture porn. While this term was applied to Eli Roth’s Hostel, it became a kind of catchall phrase to refer to violent horror films featuring brutality and gore. Powers-Schaub makes great efforts to delve under the surface of these films and examine events and themes in society that many of these films reflected or challenged. Part of what made me avoid many of these films were some of the aesthetics—including the lighting and music video like editing/cinematography that was such a part of early 2000s horror. However, Powers-Schaub repeatedly notes how integral events like 9/11 and the wars in Iraq and Afghanistan were in influencing not only the violence and brutality in these films, but also in the gritty and kinetic film aesthetics. This helps to portray the kind of social and cultural influences that were contributing to the films. In addition, the popularity of the Saw series also helped to further create some templates and methods filmmakers and studios could replicate to attempt to cash in on young horror fans’ desire for violence. However, beyond looking at the contemporary influences of these films, Powers-Schaub also examines the legacy of other horror films, particularly the slashers and grindhouse fare from the 70s that most likely influenced many of the filmmakers who were writing and directing these millennial nasties. Powers-Schaub repeatedly mentions The Texas Chainsaw Massacre, but I also was thinking about Hooper’s other 70s horror film Eaten Alive! Which features some of the same themes related to outsiders traveling to a rural community, only to be met by an insane motel owner. There’s not as much gore, kind of like Texas Chainsaw Massacre, but the implications of the violence and brutality are pretty tough.
The first essays on the Saw series were interesting, but were more like synopses and summaries, focusing on the events and identifying some themes of these different films. I’ve only seen the first film, and I really didn’t like it that much. Beyond the brutality, I didn’t like the grimy lighting and the plot seemed kind of boring to me. However, after reading about some of the other films, I’d definitely consider exploring more of this franchise to see how these themes about loyalty, family, and especially fathers and sons are explored further. The other sections in Part I dealing with traveling, home invasions, families, and captivity/kidnapping, were much more analytical and explored different themes as well. I haven’t seen many of these films, but I have read and/or heard about most of them. Reading books like these about horror films always stretches out my to watch list, and there are a number of new films I’ve added. However, I really liked these other sections because Powers-Schaub becomes more analytical of the themes and ideas in these films, and is more critical of the jokes, language, and characterization of individuals in these films. I really appreciated the critical perspective she takes, often questioning the motivations of filmmakers in presenting characters and action in the film in such a way. It made me reconsider a great amount of horror films and think more critically about representation in films, especially for women and minority characters. Furthermore, she uses Carol Clover’s great text Men, Women and Chainsaws as a reference to explore some of the themes and tropes in horror films, examining how these millennial nasties conform or challenge the common practices of horror. Section two focuses mostly on slashers, looking at how Scream created a new kind of meta-slasher template, and created these kinds of references to other films in the genre. The Final Destination series is also included in this, and Powers-Schaub’s analysis makes the film series seem more intriguing, since I haven’t watched any of them. Section three focused on remakes and updates, examining how a new generation of filmmakers paid tribute to some older, more iconic films and tried to apply the millennial nasties’ aesthetics to these updates. I think this was my favorite section, possibly because I was more familiar with the original movies and because the films covered a broader perspective- not solely focusing on gore or slashers. I liked how in depth Powers-Schaub explored the ideas and themes in these remakes and how they frequently applied to issues and problems in society. It was really interesting to see the differences between the originals and the more recent versions, and Powers-Schaub’s analysis and explorations of themes and ideas are in depth. This was really interesting book that had some great essays on a broad range of films that were released during a turbulent and uncertain time period in America’s history. Although not completely in-depth and academic, Powers-Schaub does go beyond the surface to explore themes, style, and substance of these films, analyzing their relationship to issues, events, and problems in society at the time. While I enjoyed the book, I think I would have liked more analysis, especially around the film aesthetics. Powers-Schaub repeatedly mentions the lighting in these films, often described as yellow or green. I was wondering more about the significance of this kind of lighting. While it does represent the grittiness, does it have the same meaning for all of the films? What might it mean beyond grittiness? Was there a kind of clinical or detached feeling that the filmmakers were trying to explore? Was the color yellow to excite us or induce more anxiety? Other topics like this related to music, sounds, or editing techniques could have been explored further to provide a deeper analysis, but this omission did not take away from my enjoyment of the book. The only other criticism I would mention is possibly using another word besides “nasty” to describe the action or violence in the films. Although this adjective is in the title and relevant to reframing these films, I found that the word was used a little too much and I wanted more to describe the action and details from these films. Again, this overuse of the word didn’t take away from the book, but I think using some different words might have strengthened the descriptions.
The first essays on the Saw series were interesting, but were more like synopses and summaries, focusing on the events and identifying some themes of these different films. I’ve only seen the first film, and I really didn’t like it that much. Beyond the brutality, I didn’t like the grimy lighting and the plot seemed kind of boring to me. However, after reading about some of the other films, I’d definitely consider exploring more of this franchise to see how these themes about loyalty, family, and especially fathers and sons are explored further. The other sections in Part I dealing with traveling, home invasions, families, and captivity/kidnapping, were much more analytical and explored different themes as well. I haven’t seen many of these films, but I have read and/or heard about most of them. Reading books like these about horror films always stretches out my to watch list, and there are a number of new films I’ve added. However, I really liked these other sections because Powers-Schaub becomes more analytical of the themes and ideas in these films, and is more critical of the jokes, language, and characterization of individuals in these films. I really appreciated the critical perspective she takes, often questioning the motivations of filmmakers in presenting characters and action in the film in such a way. It made me reconsider a great amount of horror films and think more critically about representation in films, especially for women and minority characters. Furthermore, she uses Carol Clover’s great text Men, Women and Chainsaws as a reference to explore some of the themes and tropes in horror films, examining how these millennial nasties conform or challenge the common practices of horror. Section two focuses mostly on slashers, looking at how Scream created a new kind of meta-slasher template, and created these kinds of references to other films in the genre. The Final Destination series is also included in this, and Powers-Schaub’s analysis makes the film series seem more intriguing, since I haven’t watched any of them. Section three focused on remakes and updates, examining how a new generation of filmmakers paid tribute to some older, more iconic films and tried to apply the millennial nasties’ aesthetics to these updates. I think this was my favorite section, possibly because I was more familiar with the original movies and because the films covered a broader perspective- not solely focusing on gore or slashers. I liked how in depth Powers-Schaub explored the ideas and themes in these remakes and how they frequently applied to issues and problems in society. It was really interesting to see the differences between the originals and the more recent versions, and Powers-Schaub’s analysis and explorations of themes and ideas are in depth. This was really interesting book that had some great essays on a broad range of films that were released during a turbulent and uncertain time period in America’s history. Although not completely in-depth and academic, Powers-Schaub does go beyond the surface to explore themes, style, and substance of these films, analyzing their relationship to issues, events, and problems in society at the time. While I enjoyed the book, I think I would have liked more analysis, especially around the film aesthetics. Powers-Schaub repeatedly mentions the lighting in these films, often described as yellow or green. I was wondering more about the significance of this kind of lighting. While it does represent the grittiness, does it have the same meaning for all of the films? What might it mean beyond grittiness? Was there a kind of clinical or detached feeling that the filmmakers were trying to explore? Was the color yellow to excite us or induce more anxiety? Other topics like this related to music, sounds, or editing techniques could have been explored further to provide a deeper analysis, but this omission did not take away from my enjoyment of the book. The only other criticism I would mention is possibly using another word besides “nasty” to describe the action or violence in the films. Although this adjective is in the title and relevant to reframing these films, I found that the word was used a little too much and I wanted more to describe the action and details from these films. Again, this overuse of the word didn’t take away from the book, but I think using some different words might have strengthened the descriptions.
October 29, 2024
If you are going to make it non-academic, why still make it so dry!
Also some of the takes in this book are the most asinine premise ever. Pausing to write this after the take on Christianity in The Strangers made me roll my eyes in the back of my head.
I am so sick of these books being churned out knowing there's a market for them but also without anyone vetting them to take it seriously. I want to read a good version of this book!
Also some of the takes in this book are the most asinine premise ever. Pausing to write this after the take on Christianity in The Strangers made me roll my eyes in the back of my head.
I am so sick of these books being churned out knowing there's a market for them but also without anyone vetting them to take it seriously. I want to read a good version of this book!
March 3, 2024
Notes from a Decaying Millennial:
I received an ARC of this book from the publisher Encyclopocalypse , in exchange for an honest review of this forthcoming book.
This is NOT a paid review
-
Those who know me, outside of the internet, know that I am indeed a voracious reader. Additionally, I am raging film nerd. Horror films are particular favorite of mine, and I love film analysis and digging into the messaging and symbolism in films. There is a wealth of articles and books out there looking at Horror from the last millennium. But, it's now 2024, and we are now getting deeper into the weeds of this new era. Now, an author has finally taken the time to look back and examine Horror films as they were born bloody and screaming, in the 21st Century.
At the outset of the book, author of Millennial Nasties Ariel Powers-Schaub states that this is in no way an academic book. I would have to disagree with the author on this point. I would argue that Powers-Schaub has written a book that stands up to the caliber of more traditional "Scholarly Works, and is itself a worthy Secondary Source. Furthermore, the author has set the bar for any future works examining horror films of the 00's, literally creating a perfect label for horror cinema of the era MILLENNIAL NASTIES.
The text is very is to read, and navigate for future reference. Ariel Powers-Schaub clearly organizes the book, separating the films discussed by theme and year. The films in question did not spring up from a vacuum. The author recognizes this, giving a brief summary of the previous defining decades in film, and running through the existing terminology that some readers (who aren't massive nerds like myself) may not know. This sets the reader up for success, and ignores the pitfalls of some aforementioned "academic texts" that require a glossary of terms in an appendixes.
Prior to diving in, the reader is presented with a breakdown of the films to be discussed in the forthcoming chapters, these are by no means the only horror films from that decade, but they are the heavy hitters. The guideposts for the rest of the book. The SAW films are presented by Powers-Schaub, as the film and subsequent sequels that laid the ground work for the "Nasties" discussed in remaining chapters. The author even provides an ingenious chart at the end of the book laying out the direct connections SAW has to other films.
As has already been made clear is much more than a synopsis guide of horror films from the early 2000s. Each film is presented as a product of its time, and the author does not shy away from pointing out elements of misogyny. Society and culture moved on and grown (for the most part) and Powers-Schaub doesn't shy away from aspects of the films presented that are problematic.
At its bloated, oozing heart, this book is written by a person with a deep love for horror film. Millennials like myself get to look back at films we saw in the theater, or perhaps on DVD. Films we may have ignored at the time, or weren't aware of, we now can go watch and appreciate. Millennial Nasties is book that deserves a place of note on every horror fans bookshelf. I hope to see Ariel Powers-Schaub 's name on future works of horror film analysis.
I received an ARC of this book from the publisher Encyclopocalypse , in exchange for an honest review of this forthcoming book.
This is NOT a paid review
-
Those who know me, outside of the internet, know that I am indeed a voracious reader. Additionally, I am raging film nerd. Horror films are particular favorite of mine, and I love film analysis and digging into the messaging and symbolism in films. There is a wealth of articles and books out there looking at Horror from the last millennium. But, it's now 2024, and we are now getting deeper into the weeds of this new era. Now, an author has finally taken the time to look back and examine Horror films as they were born bloody and screaming, in the 21st Century.
At the outset of the book, author of Millennial Nasties Ariel Powers-Schaub states that this is in no way an academic book. I would have to disagree with the author on this point. I would argue that Powers-Schaub has written a book that stands up to the caliber of more traditional "Scholarly Works, and is itself a worthy Secondary Source. Furthermore, the author has set the bar for any future works examining horror films of the 00's, literally creating a perfect label for horror cinema of the era MILLENNIAL NASTIES.
The text is very is to read, and navigate for future reference. Ariel Powers-Schaub clearly organizes the book, separating the films discussed by theme and year. The films in question did not spring up from a vacuum. The author recognizes this, giving a brief summary of the previous defining decades in film, and running through the existing terminology that some readers (who aren't massive nerds like myself) may not know. This sets the reader up for success, and ignores the pitfalls of some aforementioned "academic texts" that require a glossary of terms in an appendixes.
Prior to diving in, the reader is presented with a breakdown of the films to be discussed in the forthcoming chapters, these are by no means the only horror films from that decade, but they are the heavy hitters. The guideposts for the rest of the book. The SAW films are presented by Powers-Schaub, as the film and subsequent sequels that laid the ground work for the "Nasties" discussed in remaining chapters. The author even provides an ingenious chart at the end of the book laying out the direct connections SAW has to other films.
As has already been made clear is much more than a synopsis guide of horror films from the early 2000s. Each film is presented as a product of its time, and the author does not shy away from pointing out elements of misogyny. Society and culture moved on and grown (for the most part) and Powers-Schaub doesn't shy away from aspects of the films presented that are problematic.
At its bloated, oozing heart, this book is written by a person with a deep love for horror film. Millennials like myself get to look back at films we saw in the theater, or perhaps on DVD. Films we may have ignored at the time, or weren't aware of, we now can go watch and appreciate. Millennial Nasties is book that deserves a place of note on every horror fans bookshelf. I hope to see Ariel Powers-Schaub 's name on future works of horror film analysis.
May 5, 2024
As a millennial who enjoys horror movies (except cannibalism, learned the hard way that it was my limit after seeing Grave - this will be my disclaimer that I’m French :D We have our own subgenre in Horror), I feel like this book was written for me.
During the 00’s decade, we had a bunch of movies going from regular slashers to remakes of old classics, and many of them seemed to really like their torture porn. Horror movies are usually a product of their time and say a lot of the society they were created in.
Ariel Powers-Schaub goes through the most famous ones of that decade trope by trope : home invasion, slasher, remake, danger away from home… and analyses the messages of the movies. One thing that I realise now is that this was a time for sexism, sure we felt like we were making progress (we were) but boy was it a tough time to be a woman. She mentions in one chapter that it was the era of the cool girl who was supposed to be feminist but not say it, a painful reminder that at University (I’m around the same age than the author so it was in the early 00s) I would say I was for equal rights cause feminist was seen as a bad word. It was also a time when everything and everyone was fair game and when humour was not a refined one to say the least.
You can’t talk about the 00s without mentioning 9/11 and Ariel mentions that there is kind of a before and after the first Final Destination (which was out in 2000), you couldn’t really get away with that first scene after 2001. It also changed the sense of danger for most Americans, and the way they related to the world, which of course is reflected in the Horror movies of that time.
That part made me smile :
> This film impacted an entire generation of drivers. Ask anyone who has seen this film how they feel driving behind a log truck on the highway. Final Destination 2 took something so mundane, so everyday, and made it horrifying.
Cause yep, this is how you spot a millennial in a crowd of drivers :D
I also really loved this part at the end :
> Horror films are always reacting to the world around them, and it’s a different world now. The horrors of our current world may be similar to previous generations’ fears–for example, the war on Ukraine and the COVID-19 pandemic. War and sickness have always been explored through horror. But we have brand-new fears to explore as well, like the reality of sci-fi stories coming to life, as artificial intelligence is quickly getting scarier every day. We have abandoned some of the bigoted horror tropes, and there is room for many new voices in horror. More is possible now in indie filmmaking, and there are more ways to get creative than ever before. I will always love my Millennial Nasties, but I am excited about the future of horror.
Because I agree so much. It’s actually what I love about Horror movies, while some fears are universal and timeless, there are still some very scary things that are very specific to a time.
A great read that I highly recommend. I received an advance review copy for free, and I am leaving this review voluntarily. Millennial Nasties is expected to be published on September 27
During the 00’s decade, we had a bunch of movies going from regular slashers to remakes of old classics, and many of them seemed to really like their torture porn. Horror movies are usually a product of their time and say a lot of the society they were created in.
Ariel Powers-Schaub goes through the most famous ones of that decade trope by trope : home invasion, slasher, remake, danger away from home… and analyses the messages of the movies. One thing that I realise now is that this was a time for sexism, sure we felt like we were making progress (we were) but boy was it a tough time to be a woman. She mentions in one chapter that it was the era of the cool girl who was supposed to be feminist but not say it, a painful reminder that at University (I’m around the same age than the author so it was in the early 00s) I would say I was for equal rights cause feminist was seen as a bad word. It was also a time when everything and everyone was fair game and when humour was not a refined one to say the least.
You can’t talk about the 00s without mentioning 9/11 and Ariel mentions that there is kind of a before and after the first Final Destination (which was out in 2000), you couldn’t really get away with that first scene after 2001. It also changed the sense of danger for most Americans, and the way they related to the world, which of course is reflected in the Horror movies of that time.
That part made me smile :
> This film impacted an entire generation of drivers. Ask anyone who has seen this film how they feel driving behind a log truck on the highway. Final Destination 2 took something so mundane, so everyday, and made it horrifying.
Cause yep, this is how you spot a millennial in a crowd of drivers :D
I also really loved this part at the end :
> Horror films are always reacting to the world around them, and it’s a different world now. The horrors of our current world may be similar to previous generations’ fears–for example, the war on Ukraine and the COVID-19 pandemic. War and sickness have always been explored through horror. But we have brand-new fears to explore as well, like the reality of sci-fi stories coming to life, as artificial intelligence is quickly getting scarier every day. We have abandoned some of the bigoted horror tropes, and there is room for many new voices in horror. More is possible now in indie filmmaking, and there are more ways to get creative than ever before. I will always love my Millennial Nasties, but I am excited about the future of horror.
Because I agree so much. It’s actually what I love about Horror movies, while some fears are universal and timeless, there are still some very scary things that are very specific to a time.
A great read that I highly recommend. I received an advance review copy for free, and I am leaving this review voluntarily. Millennial Nasties is expected to be published on September 27
April 22, 2024
This work looks at a period in horror cinema known as “Torture Porn”. As Powers-Schaub suggests, this might not be the most linguistically accurate term for this period in cinema. Perhaps the title of this book offers a more accurate assessment of the sub-genre of horror films that came out about now. The timeframe for these movies covers the first 10-15 years of the 21st century, when the world entered into a period of new uncertainty and changes. From 9/11 to the increased reliance on the internet and rise of social media, all of this concepts play into the general feel of that time frame.
Powers-Schaub looks at some of the more well-known horror franchises, plus a few one-off films in this period. The Saw, Hostel and Final Destination franchises appear in the analysis, along with the Wrong Turn, House of a 1000 Corpses and several groups/series of films. While perhaps Hostel is the most accurately labeled as “torture porn”, the others are noted for how they play against standard horror tropes, or lean in to them, and also address themes of depravity, violence, sexism and trying to define horror for a new generation.
The analysis is not academic, which the author points out right away at the start of the book. This is more thought critical eye of a film fan who writes about horror movies as a profession. Powers-Schaub will call out themes that will especially resonate with the audience, for good or bad. There is some degree of modern moralizing, calling out themes from barely 20 years ago that do not age well, but she is also cognizant of the era in which they were made.
Overall, this book is probably going to appeal more towards the horror film fan. It is not all inclusive of every horror film that came out in the 1st two decades of this century. However, it covers some of the key films, or at least those that would best fit her “Millennial Nasties” definition. For the non-horror fan, the writing is engaging enough, but likely the descriptions of the films, while not overly focusing on the gore and violence, would be enough to turn off a casual fan. Worth a library checkout, regardless of format (audiobook/e-copy/hardback).
I received an advance review copy for free, and I am leaving this review voluntarily
Powers-Schaub looks at some of the more well-known horror franchises, plus a few one-off films in this period. The Saw, Hostel and Final Destination franchises appear in the analysis, along with the Wrong Turn, House of a 1000 Corpses and several groups/series of films. While perhaps Hostel is the most accurately labeled as “torture porn”, the others are noted for how they play against standard horror tropes, or lean in to them, and also address themes of depravity, violence, sexism and trying to define horror for a new generation.
The analysis is not academic, which the author points out right away at the start of the book. This is more thought critical eye of a film fan who writes about horror movies as a profession. Powers-Schaub will call out themes that will especially resonate with the audience, for good or bad. There is some degree of modern moralizing, calling out themes from barely 20 years ago that do not age well, but she is also cognizant of the era in which they were made.
Overall, this book is probably going to appeal more towards the horror film fan. It is not all inclusive of every horror film that came out in the 1st two decades of this century. However, it covers some of the key films, or at least those that would best fit her “Millennial Nasties” definition. For the non-horror fan, the writing is engaging enough, but likely the descriptions of the films, while not overly focusing on the gore and violence, would be enough to turn off a casual fan. Worth a library checkout, regardless of format (audiobook/e-copy/hardback).
I received an advance review copy for free, and I am leaving this review voluntarily
September 17, 2024
If you’ve been anywhere near horror social media in the last few years, you’ll know Ariel Powers-Schaub. A regular contributor to podcasts, prolific writer of articles and general enthusiastic Voice of Horror Fandom, it was only a matter of time before she shared her enthusiastic thoughts in a book!
‘Millennial Nasties’ is a collection of short essays, reviewing movies that had previously been lumped under a much less flattering moniker (hint: it rhymes with Schmorture Shmorn). From the classic genius of the original ‘Saw’ to the slew of horror remakes, via various familiar franchises and more obscure-but-worthy views, this compilation sweeps through the horror landscape of the 2000s with the thoughtful skill of a journalist and the genuine love of a genre fan.
Taking tropes such as final girls, cabins in the woods and the impact of movies that broke into the mainstream (notably ‘Scream’), the perspectives of studios, creatives and writers are all taken into account to review the evolution of trends, as well as the - always polarised - reactions of audiences and critics.
It was a delight to revisit movies I remember loving at the time of release, as well as being pointed in the direction of new titles that I hadn’t heard of before. As a huge fan of movie trivia, it was also lovely to glimpse behind the curtains and see how sub-genres were practically invented wholesale to hit a perceived market.
If I had any criticism, it would be that these essays are themselves too short! I know that Ariel could talk for far longer about each title, but this would make the book several times its current length, so… I’ll just be listening out for her future appearances to hear more.
A great compilation of an unfairly overlooked group of movies, this book will be enjoyed by both long-time fans and newcomers alike. I’m pretty sure it’ll find its way to the Required Reading bibliographies of movie studies classes very soon.
I’ve already been recommending it, and will continue to do so, while looking forward to what comes next!
‘Millennial Nasties’ is a collection of short essays, reviewing movies that had previously been lumped under a much less flattering moniker (hint: it rhymes with Schmorture Shmorn). From the classic genius of the original ‘Saw’ to the slew of horror remakes, via various familiar franchises and more obscure-but-worthy views, this compilation sweeps through the horror landscape of the 2000s with the thoughtful skill of a journalist and the genuine love of a genre fan.
Taking tropes such as final girls, cabins in the woods and the impact of movies that broke into the mainstream (notably ‘Scream’), the perspectives of studios, creatives and writers are all taken into account to review the evolution of trends, as well as the - always polarised - reactions of audiences and critics.
It was a delight to revisit movies I remember loving at the time of release, as well as being pointed in the direction of new titles that I hadn’t heard of before. As a huge fan of movie trivia, it was also lovely to glimpse behind the curtains and see how sub-genres were practically invented wholesale to hit a perceived market.
If I had any criticism, it would be that these essays are themselves too short! I know that Ariel could talk for far longer about each title, but this would make the book several times its current length, so… I’ll just be listening out for her future appearances to hear more.
A great compilation of an unfairly overlooked group of movies, this book will be enjoyed by both long-time fans and newcomers alike. I’m pretty sure it’ll find its way to the Required Reading bibliographies of movie studies classes very soon.
I’ve already been recommending it, and will continue to do so, while looking forward to what comes next!
June 12, 2024
I picked this up because it was seemingly the only collection of pop culture essays on Booksirens at the time. As a 1992 birth, I was very intrigued by the time frame depicted. However, as I read on, I realized there was one fundamental flaw derailing any enjoyment I could have for this book:
These films are simply not worthy of critical analysis.
"Torture porn" movies are inherently shallow. The author tries in vain to assign deep meaning where there simply is none. "The Strangers" is about America's security anxiety about as much as "Garfield: A Tail of Two Kitties" is a farcical takedown of the concept of monarchy.
The real reason for the ubiquity of these films once upon a time is a more simplistic and boring answer and can be summed up in one succinct sentence rather than 200 pages: "they were cheap and made a lot of money." Audiences didn't care about plots and characters so some of these franchises farted out five or six entries just in the duration covered. They appealed to very base and primal impulses, quality be damned.
Unfortunately, trying to add substance to the disembowelments of coeds leads to repetition. My next cartload of groceries would be paid off if I received a dime for every mention of 9/11 or Texas Chainsaw Massacre. I'm not even sure how the writer feels about these movies as any perceived punching down or production flaw is criticized only for a recommendation to be implied in the next paragraph due to the mention of someone getting chopped up in a creative way.
There is nothing I want to be less than a caustic critic and I wish there was an option to tack on an extra half star but this isn't a book I can rave about. There is clearly a polished grasp on the fundamentals of writing here so hopefully the author has better luck with a work of fiction or a more interesting non-fiction topic.
As always, I received an advance review copy for free and this is my unbiased and uninfluenced opinion.
These films are simply not worthy of critical analysis.
"Torture porn" movies are inherently shallow. The author tries in vain to assign deep meaning where there simply is none. "The Strangers" is about America's security anxiety about as much as "Garfield: A Tail of Two Kitties" is a farcical takedown of the concept of monarchy.
The real reason for the ubiquity of these films once upon a time is a more simplistic and boring answer and can be summed up in one succinct sentence rather than 200 pages: "they were cheap and made a lot of money." Audiences didn't care about plots and characters so some of these franchises farted out five or six entries just in the duration covered. They appealed to very base and primal impulses, quality be damned.
Unfortunately, trying to add substance to the disembowelments of coeds leads to repetition. My next cartload of groceries would be paid off if I received a dime for every mention of 9/11 or Texas Chainsaw Massacre. I'm not even sure how the writer feels about these movies as any perceived punching down or production flaw is criticized only for a recommendation to be implied in the next paragraph due to the mention of someone getting chopped up in a creative way.
There is nothing I want to be less than a caustic critic and I wish there was an option to tack on an extra half star but this isn't a book I can rave about. There is clearly a polished grasp on the fundamentals of writing here so hopefully the author has better luck with a work of fiction or a more interesting non-fiction topic.
As always, I received an advance review copy for free and this is my unbiased and uninfluenced opinion.
October 5, 2024
Written by Ariel Powers-Schaub, this book examines the 2000s era of horror that was known by the title 'Torture Porn.' Early on, Ariel explains that this book is not meant to be an academic text, but instead a series of her own personal opinions and essays that analyse this decade and subgenre of horror.
The book separates its examination into separate parts and categories to group together specific films for separate examinations. This allows for thoughtful examinations of films that were routinely dismissed upon release, with excellent readings assembled in ways that had me wondering if I should give some titles another chance.
All of which is part of a tapestry, which shows how real-world issues informed this decade of horror, with 9/11 particularly getting mentioned for its sizeable impact upon what audiences desired in the aftermath. Admittedly, there are instances of noticeable errors (a missing word here, an actors name repeated therr), but this does not hurt what is a thoughtful and engrossing examination where the author's passion shines through. This is particularly noticeable with a section that connects the Saw franchise to every film covered in this book. Move over, Kevin Bacon. You're not the only focal point for a "six degrees of separation" game.
Ariel says that this book should not be the final say on anything and hopes that it will make more people feel welcome to the conversation. In that sense, consider this mission accomplished, but what is worth mentioning is how a far better term has been offered for what was known as 'Torture Porn', and that is Millenial Nasties. I hope that catches on instead of being a case of trying to make Fetch happen, because it is a killer name.
The book separates its examination into separate parts and categories to group together specific films for separate examinations. This allows for thoughtful examinations of films that were routinely dismissed upon release, with excellent readings assembled in ways that had me wondering if I should give some titles another chance.
All of which is part of a tapestry, which shows how real-world issues informed this decade of horror, with 9/11 particularly getting mentioned for its sizeable impact upon what audiences desired in the aftermath. Admittedly, there are instances of noticeable errors (a missing word here, an actors name repeated therr), but this does not hurt what is a thoughtful and engrossing examination where the author's passion shines through. This is particularly noticeable with a section that connects the Saw franchise to every film covered in this book. Move over, Kevin Bacon. You're not the only focal point for a "six degrees of separation" game.
Ariel says that this book should not be the final say on anything and hopes that it will make more people feel welcome to the conversation. In that sense, consider this mission accomplished, but what is worth mentioning is how a far better term has been offered for what was known as 'Torture Porn', and that is Millenial Nasties. I hope that catches on instead of being a case of trying to make Fetch happen, because it is a killer name.
November 5, 2024
This book is light on in-depth analysis and relies on the author's own hazy recollections rather than hard academic references for its broader statements about American culture in the '00s — but it's so clearly a labor of love that I can't help admiring it. Powers-Schaub proves herself a big fan of the type of gory, gross (in terms of violence and social messages) horror pictures that we millennials sat through at the turn of the century. I love that she takes a serious look at pictures that are generally thought of as beneath criticism, and that's precisely the brilliance of this book.
I myself am a big horror lover, which is what led me to grab this book on a whim at the library, and she turned me on to several more movies that I'd overlooked and will now be watching. That's the main reason I turn to a book like this. She also made me want to rewatch a few that I vaguely remember enjoying but would like to see with a more mature eye. Her passion for these films really shines through in the writing, but may also hurt her criticism because she's far too quick to dismiss the ignorant messaging in some of the films as a simple product of the times, rather than a factor in perpetuating those times (many of these were big hit movies, after all).
Sure, there are numerous obvious typos and fixes that would've been easy to axe (get it?) with a better edit, but they don't detract from a book written with real heart and soul about a period of American filmmaking that made huge money but eluded analysis from the major critics of the day.
I myself am a big horror lover, which is what led me to grab this book on a whim at the library, and she turned me on to several more movies that I'd overlooked and will now be watching. That's the main reason I turn to a book like this. She also made me want to rewatch a few that I vaguely remember enjoying but would like to see with a more mature eye. Her passion for these films really shines through in the writing, but may also hurt her criticism because she's far too quick to dismiss the ignorant messaging in some of the films as a simple product of the times, rather than a factor in perpetuating those times (many of these were big hit movies, after all).
Sure, there are numerous obvious typos and fixes that would've been easy to axe (get it?) with a better edit, but they don't detract from a book written with real heart and soul about a period of American filmmaking that made huge money but eluded analysis from the major critics of the day.
August 4, 2024
MILLENNIAL NASTIES is a great introductory course into analysis for the torture porn era of horror. For starters, I think the term coined by Powers-Schaub is both quite clever and flattering.
As this is one of my favorite eras of horror, and I think often overlooked because of its violent reputation, it was great to see someone who cared about the stories from this time period as I did. I also really appreciated that the introduction lays out appropriate expectations for what to expect from the book, seeing as this is personal analysis. While I had hoped initially for this to be more research heavy (coming at it from a high level of familiarity with the topic already) the introduction set a fun and accurate bar for what the reader was getting into.
This is the gift I'll be getting anyone who overlooks my movie choices in the near future, as I truly do think it's a good blend of context, review, and personal observation on the part of the writer. While there are one or two sections that tread similar ground, the writing is engaging with some very sharp points made.
I have to say my favorite bit was probably the Degrees of Sawperation chart, and this is a game I now play with myself virtually any time I watch a movie.
I received an advance copy for review, and am leaving this review voluntarily.
As this is one of my favorite eras of horror, and I think often overlooked because of its violent reputation, it was great to see someone who cared about the stories from this time period as I did. I also really appreciated that the introduction lays out appropriate expectations for what to expect from the book, seeing as this is personal analysis. While I had hoped initially for this to be more research heavy (coming at it from a high level of familiarity with the topic already) the introduction set a fun and accurate bar for what the reader was getting into.
This is the gift I'll be getting anyone who overlooks my movie choices in the near future, as I truly do think it's a good blend of context, review, and personal observation on the part of the writer. While there are one or two sections that tread similar ground, the writing is engaging with some very sharp points made.
I have to say my favorite bit was probably the Degrees of Sawperation chart, and this is a game I now play with myself virtually any time I watch a movie.
I received an advance copy for review, and am leaving this review voluntarily.
May 16, 2024
Many thanks to BookSirens, Encyclopocalypse, and the author especially - Ariel Powers-Schaub. I received a free ARC, and this review is voluntary.
This was a fun read
As the synopsis indicates, the author covers select horror movies from the years 2000-2010. Each of these films is padding for the argument the author is persuading us into considering, which is to adopt a new term for this era in cinema horror, called the Millenial Nasties.
Through heavy research, and careful analysis of specific plot points of each film selected, the author demonstrates the importance, or impact each film had, whether acting as an influence to a later piece of work, or serving as an allegory or symbolism, to a time period in history that may no longer be relevant.
A tear of joy for the infected kid from Cabin Fever getting a shout-out. Whenever he yelled out "PANCAKES," I felt that.
This was wonderfully written. It wasn't academic, or dry. It was solid commentary that kept this reader engaged throughout. I thoroughly enjoyed this book, and hope there's more analysis to come. We're witnessing the Professor of Horror in action.
This was a fun read
As the synopsis indicates, the author covers select horror movies from the years 2000-2010. Each of these films is padding for the argument the author is persuading us into considering, which is to adopt a new term for this era in cinema horror, called the Millenial Nasties.
Through heavy research, and careful analysis of specific plot points of each film selected, the author demonstrates the importance, or impact each film had, whether acting as an influence to a later piece of work, or serving as an allegory or symbolism, to a time period in history that may no longer be relevant.
A tear of joy for the infected kid from Cabin Fever getting a shout-out. Whenever he yelled out "PANCAKES," I felt that.
This was wonderfully written. It wasn't academic, or dry. It was solid commentary that kept this reader engaged throughout. I thoroughly enjoyed this book, and hope there's more analysis to come. We're witnessing the Professor of Horror in action.
June 11, 2024
Just closed up Millennial Nasties! This examination of early 2000s horror movies left me both satisfied to relive some favorites (Rob Zombie's Halloween and The Strangers) and wanting a bit more in the way of sophisticated writing. Ariel Powers-Schaub definitely knows her material; she analyzes plot and references source material often. However, the book did tend to feel a bit like a research or term paper. There were some grammatical errors and could use a bit more work to limit repetition of description, but if you're looking for a thorough run-down of this particular era of horror movies Millennial Nasties does the job. The author also takes great care to take readers out of the film and put them back into the context of the world, as often horror films act as a mirror and commentary on what is happening around us. Thematic patterns (green and yellow lighting anyone?), gender roles, misogyny and much more are analyzed in the context of these films which is very interesting and will definitely add a new dimension to the viewing experience the next time I press Play on any of these gems.
June 12, 2024
Powers-Schaub’s “Millennial Nasties” is a powerhouse of information sure to earn its spot on any horror aficionado’s shelf. It delves deep into what a Millennial Nasty is, why they evoke such strong feelings, how they play into our fears, and why they deserve to be remembered and rewatched. It dives into some of the classic Nasties and dissects them, never shying away from the things they did wrong while highlighting the things they did right. For those of us who were kids and teens in the early oughts, it feels like a nostalgic trip down memory lane, revisiting the films that sculpted our formative years. For everyone else, it’s a guide to an entire generation’s worth of gore-heavy, narrative-rich films from “Saw” to “The Strangers”, and beyond. Whether you are already a fan of the Millennial Nasties or are just discovering these gritty, dark films, this book is the definitive guide to an often overlooked subgenre that brought horror into a new era.
August 24, 2024
I received an advance review copy for free, and I am leaving this review voluntarily. This is an interesting collection of essays, as someone who was late to horror (I wouldn’t actually watch horrors in the millennial frame but am catching up now) I found this book very informative. I found the book being separated into three parts made it feel less daunting (especially with the gruesomeness of some of the books covered and thought that remakes getting their own section at the end was cool. I thought that the way in which the last chapter of one chapter leaded into the title/topic of the next was a great touch that made it feel even more cohesive. I also liked the fact that the Saw films and final destination films had their own chapters with them having so many films under the franchise. Finally, the 6 degrees of saw-peration list and graphic at the end was interesting for me to see the way so many horrors can connect and all back to the first film covered in the book.
September 3, 2024
Ariel Powers-Schaub's Millennial Nasties: Analyzing a Decade of Brutal Horror Film Violence surveys American horror cinema spanning the turbulent period between 2000 and 2010. Drawing parallels between seminal works and cultural touchstones, Powers-Schaub identifies two forebears for the era's distinctive brand of terror: the visceral impact of The Texas Chain Saw Massacre (1974) and the controversial Video Nasties list, emblematic of the censorship battles of the VHS-era in the United Kingdom.
You can read Stephen McClurg's full review at Horror DNA by clicking here.
You can read Stephen McClurg's full review at Horror DNA by clicking here.
May 13, 2024
I received an ARC for this book from BookSirens for free.
When I saw this book in BookSirens I knew immediately that I would love it. I wasn't wrong. Analyzing the "torture porn" films (given here the new term millennial nasties by the author) of 00's this book was insightful and fun to read. As someone who was in their teens mid to late 00's this gave me so much nostalgia and I was happy to notice I've seen most of the films mentioned in this book.
The author moves fast from film to film, but manages to give interesting analyses of how the films reflect the time period and especially how horror film making changed a lot after 9/11.
Overall this was really enjoyable and compact portrayal and analysis of a specific genre of horror. I'd love to read more from the author in the future.
When I saw this book in BookSirens I knew immediately that I would love it. I wasn't wrong. Analyzing the "torture porn" films (given here the new term millennial nasties by the author) of 00's this book was insightful and fun to read. As someone who was in their teens mid to late 00's this gave me so much nostalgia and I was happy to notice I've seen most of the films mentioned in this book.
The author moves fast from film to film, but manages to give interesting analyses of how the films reflect the time period and especially how horror film making changed a lot after 9/11.
Overall this was really enjoyable and compact portrayal and analysis of a specific genre of horror. I'd love to read more from the author in the future.
August 12, 2024
I love horror and all things horror, this book was not only informative on some of the movies I love and grew up watching but also brought to light movies I didn’t know existed and will be watching on my days off to see what they are about and how they relate to this book. This was a different type of book for me than my typical read as I try to branch out from romance and fiction as well as thrillers. But for anyone who likes and really enjoys an essay style of writing and horror I highly recommend this book. I cannot wait to go through and watch all of these movies covered by the book.
I received an advance review copy for free, and I am leaving this review voluntarily
I received an advance review copy for free, and I am leaving this review voluntarily
February 18, 2025
This was a really pleasant book to pick up each evening before bed to read a chapter or two about some of my favourite horror movies growing up. What can I say, horror is my comfort zone 😄.
The text isn’t too academic and is extremely readable but could have provided more depth without veering into pretentious film analysis territory. There’s a lot of repetition regarding what’s found in a millennial nasty, such as pointing out the green and yellow lighting, which could have been addressed differently.
I found this book via the Horror Queers podcast which is also worth checking out if you love horror movies 😊
🖤 🩸 🎥
The text isn’t too academic and is extremely readable but could have provided more depth without veering into pretentious film analysis territory. There’s a lot of repetition regarding what’s found in a millennial nasty, such as pointing out the green and yellow lighting, which could have been addressed differently.
I found this book via the Horror Queers podcast which is also worth checking out if you love horror movies 😊
🖤 🩸 🎥
March 3, 2024
A wonderful book that recontextualizes the early 2000s "torture porn" subgenre of horror films with an appreciative view. Ariel Powers-Schaub's writing is light and lighthearted for such horrific subject matter and you can feel the love and knowledge for these films in every line. A must have book for anyone interested in these movies and even for those who are not, you will gain a new appreciation for what we will be calling Millennial Nasties from this point forward.
May 6, 2024
I had always heard of Millennial Nasties but didn't really know anything about it, so this book was really interesting and informative. I thought Ariel Powers-Schaub Ariel Powers-Schaub had a great writing style and seemed to know what they were talking about in this book. I thought it worked with what I was expecting and learned about some movies I had never heard of before.
I received an advance review copy for free, and I am leaving this review voluntarily.
I received an advance review copy for free, and I am leaving this review voluntarily.
March 21, 2024
Ariel Powers-Schaub is an evangelist for the horror films of the Naughty Aughties! I'm not really even a fan of this particular kind of horror, but her writing is fun and engaging and makes me wonder what I've been missing! (She's the one who inspired me to finally watch all the SAW films, so you KNOW she's gotta be good!) A must-read for any horror fan or any lover of cinema or film criticism!
September 18, 2024
Really fascinating book. I learned many things I never knew. As a huge horror fan I found it really interesting. Would definitely read more like this from the author.
January 27, 2025
my letterboxd watchlist is an absolute nightmare now upon finishing this
July 18, 2025
Nice look into the horror movies that came out the first decade of the new millennium.
October 1, 2025
Two and a half stars
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