The Rise of Campy Horror: How Unexpected Excess is Captivating Audiences

In a surprising twist, the horror genre has become a breeding ground for unexpected laughter and delight. From the outrageous antics of "The Substance" to the over-the-top performances in "Longlegs" and "Trap," a new wave of horror movies is embracing the camp aesthetic, leaving audiences in stitches. This article explores the reasons behind this phenomenon and how these films are challenging traditional notions of the genre.

Uncovering the Campy Charm of Modern Horror

The Substance: Satire, Allegory, and Sheer Absurdity

Coralie Fargeat's "The Substance" is a multifaceted film that defies easy categorization. It starts as a satire, an allegory exploring the burden of beauty standards on women's mental health, but by the time a giant blob of flesh with random boobs and rows of teeth tapes a picture of Demi Moore's face over its approximate head and presents itself to the world, it has fully embraced the realm of camp. The ensuing bloodbath takes the movie to new heights of absurdity, leaving audiences unsure whether to scream in horror or burst into laughter.

Longlegs: When Nicolas Cage Chews the Scenery

Osgood Perkins' "Longlegs" was marketed as "the scariest film of the decade," but the sight of Nicolas Cage chewing the scenery underneath pounds of prosthetics and a stringy shoulder-length wig proved to be more amusing than terrifying. The viral "Let Me in Now" song, delivered as if off the top of his pasty head, has become more of a meme than a source of nightmares.

The Deliverance: When Glenn Close Steals the Show

If there's one thing people remember about Lee Daniels' demonic possession movie "The Deliverance," it's Glenn Close's instantly immortal dialogue, "I can smell your nappy pussy." Had the movie been released nationwide instead of heading nearly straight to Netflix, that howler of a line alone would have been worth the price of admission.

Trap: The Purest Camp of the Bunch

Of all the new batch of campy horror movies, "Trap" stands out as the purest example. From start to finish, it's a hoot. Josh Hartnett's stiff, stilted acting as a serial killer trying to blend in as an average dad is the only intentionally synthetic element. The rest of the movie's hilarity comes at the expense of M. Night Shyamalan's attempts to weave a taut cat-and-mouse thriller. The plot is absurdly simplistic, and the supporting cast, including Hayley Mills as a loquacious FBI profiler, deliver performances that elicit howls of laughter.

The Front Room: Kathryn Hunter's Comedic Tour de Force

Sam and Max Eggers' "The Front Room" is a self-possessed movie about the horrors of living with an in-law, and at its heart is Kathryn Hunter's dynamite performance as Solange, a widow who weaponizes her age to terrorize her step-grandson's wife, Belinda. From under a Jerri Blank wig and in a thick Southern drawl, Solange is like Ruth Gordon on Galaxy Gas, in a movie that is a rip-off of "Rosemary's Baby," like, 20 percent of the time. The rest is a tour de force of bodily functions and calculated flailing for attention, making it a prime example of camp at its finest.

The Rise of Camp in Horror: Audience Engagement and the Changing Landscape of Film Discourse

The emergence of this campy wave of horror movies coincides with a time when film discourse has become more divisive than ever. As audiences have more options to curate their viewing experiences, the conversation around movies has become more nuanced and personal. Camp requires a certain level of engagement and self-reflection, and the enjoyment of these films is often enhanced by the ability to discuss and debate their merits with others.Furthermore, the runaway success of 2023's "M3gan" has played a role in this trend. That movie's blend of horror and comedy, derived from an AI-powered robo-doll, demonstrated the appeal of riding the edge of the preposterous. Other movies, like the vampire flick "Abigail," have tried to replicate this magic, but with less success, as they teetered too far into intentional comedy rather than letting the audience discover the humor for themselves.

Camp and the Gay Sensibility: A Longstanding Tradition

As acknowledged by Susan Sontag and many moviegoing queer individuals, the appreciation of camp has traditionally been associated with the gay community. Jack Babuscio's essay "Camp and the Gay Sensibility" argues that the acute awareness of the polarization between the "normal" (hetero) and "abnormal" (homo) within culture has led to a "twin set of perspectives and general understandings about what the world is like and how to deal with it," one of which is camp.While the movies mentioned in this article are not explicitly gay, they contain prominent elements that have historically appealed to gay audiences, such as dueling divas, outsider antiheroes, sassy old women, and eye candy like Josh Hartnett. The deliberate winks and nods towards these sensibilities suggest that the filmmakers are aware of and catering to this particular audience.

The Art of Discovering Camp: Intentional vs. Unintentional

Sontag's distinction between "pure camp," which is always naive, and "camping," which is camp that knows itself to be camp, is crucial in understanding the appeal of these movies. The ambiguity between what the filmmaker means to do and what is actually happening is essential to the camp experience.Movies like "Beyond the Valley of the Dolls" and "Showgirls" exemplify this balance, careening between pointed satire and sheer incompetence. The result is a delightful sense of unpredictability, where the audience is kept on their toes, never quite sure if the filmmakers are in on the joke or not.In contrast, movies like "The Front Room," with Kathryn Hunter's intentionally campy performance as Solange, provide a different kind of camp experience. While still highly entertaining, the audience is aware of the filmmaker's intent, which can sometimes diminish the element of discovery that is so crucial to the camp sensibility.Ultimately, the joy of discovering the unexpected pleasures of a movie that was not intended to be camp is a unique and captivating experience, one that is becoming increasingly prevalent in the horror genre. As audiences continue to seek out unique and engaging cinematic experiences, this campy wave of horror movies is poised to continue delighting and surprising viewers for years to come.