4 Movies That Were Secretly Horror
Most seasoned genre film fans know exactly what to expect from a horror movie, particularly when it comes to your run-of-the-mill stalk-and-slash affair or a boilerplate ghost story. But every so often, a film sets itself up as belonging to a particular genre and eventually reveals itself to be something entirely different. Some features take such an abrupt and unexpected turn that they end in a different genre than they began. And that’s pretty exciting, especially when seeing such a film for the first time.
What follows are four examples of horror movies that begin as anything but horror movies.
From Dusk Till Dawn
More so than any other film on this list, From Dusk Till Dawn really nails this dramatic shift. The film spends ample time establishing itself as a heist picture and road film. And as a viewer, seeing From Dusk Till Dawn for the first time, I was plenty surprised to learn that the bar where bank robber brothers Seth and Richie plan to meet their contact is, in fact, a haven for the undead.
Director Robert Rodriguez does a commendable job managing the tonal shift. In less capable hands, it could have felt like a clunky maneuver that derailed the proceedings. But because the shift plays out like a natural (albeit unexpected) progression of that which has come before it, the impact is pretty profound. Richie and Seth face problem after problem from the onset of their journey. So, the idea that their final obstacle is a clan of bloodthirsty vampires feels almost like a logical progression (in hindsight). And that leaves the viewer feeling like the twist was earned, rather than tacked on.
Psycho
There’s an underlying layer of paranoia to Psycho that starts with the frantic opening credits. However, it’s a subtle and gradual build and the film never veers into full-on horror territory until dangerously close to the halfway mark. Hitchcock waits so long to fully introduce the horror elements that the viewer almost has time to get comfortable with the idea that Psycho is a picture about a woman on the run with her ill-begotten gains. In fact, Marion doesn’t even pull up to the Bates Motel until nearly 30 minutes into the runtime. Additionally, upon her arrival there, Norman seems like he could almost be a hospitable and disarming host. Yet, when Marion Crane steps into the shower, the tone and focus of Psycho take an abrupt turn. At that point, the horror elements lurking under the surface come to the forefront and take center stage.
Hitchcock shows remarkable restraint by holding off on introducing any of the film’s more macabre themes until well into the second act. And that restraint pays off in spades. Luring the audience into letting their guard down, only to pull the rug out from underneath them works to remarkable effect here. It’s a tactic many filmmakers have since tried to execute in similar fashion.
Botched
Botched follows a similar template to From Dusk Till Dawn. And I suspect that’s why the film’s lead character is also named Richie. I think that was intended as a good-natured homage. Like the Robert Rodriquez vampire flick, Botched begins as a heist picture and ends as something completely different.
When a team of thieves, led by Richie (Stephen Dorff), make an attempt to steal an artifact from a high-rise building in Russia, they become trapped on the 13th floor of the building. Richie and company assume the building’s elevator has been disabled by the police, leading to a hostage situation. But when Richie and his team make a good faith effort and release one of their captives, the hostage is then beheaded. At that point, the trio of grifters come to the realization that the long arm of the law is the least of their concerns.
Like the other films on this list, Botched manages to lure first-time viewers into a false sense of security. And when the audience least expects it, the horror elements are introduced. From there, the audience is treated to wall-to-wall carnage.
In spite of the film’s tonal shift, the comedic energy that’s been present from the beginning carries through. And keeping that piece intact serves to keep a certain continuity after the unexpected twist.
Gremlins
Although it eventually establishes itself as a full-fledged horror picture, Joe Dante’s tale of tiny creatures run amok doesn’t really set itself up like your average horror flick. In fact, it feels a lot more like a family comedy (with occasional dramatic overtones) set during the holidays. But boy does the film go to some surprising places when the focus shifts from light, seasonal fare to full-on horror. It happens all of a sudden. In just a matter of seconds, we go from idyllic and peaceful to witnessing a Gremlin pureed in a blender.
The abrupt tonal transition really has the potential to catch first-time viewers off guard and enhance the horrific nature of what transpires during the tail-end of the second act and throughout the third. Dante plays with our expectations by showing us this picturesque family in a town that looks a little like a Norman Rockwell painting, only to transition to a dark and violent third act.
