The horror genre, a realm of transgression and exploration of the taboo, has long captivated audiences with its ability to push boundaries. Among its myriad tropes, the portrayal of young, innocent children in mortal or moral peril and the subversion of parental figures have been enduring themes. However, a recent trend in mainstream horror films, including 'Bring Her Back', 'Weapons', and 'Lee Cronin's The Mummy', takes these classic tropes and twists them in intriguing and disturbing ways. These films introduce a new dynamic where the evil children are not inherently malevolent but rather pawns of a larger, sinister force, and the women responsible for the evil are not actual mothers but surrogate parents. This shift in narrative not only adds a layer of complexity to the classic 'Evil Child' and 'Dark Mother' archetypes but also invites a broader commentary on the impact of societal and environmental factors on individuals.
The trend seems to be inspired by the classic 'psycho-biddy film' and the witch archetype, often associated with hagsploitation. In these films, the matriarchs, like The Magician in 'Lee Cronin's The Mummy', are presented as practitioners of black magic, luring their child victims with poisoned apples and other sinister methods. However, what sets these characters apart is their sympathetic, albeit vile, motives. They are nuanced villains, grounded in reality, rather than fantasy, which adds depth to the storytelling.
The children in these films are not changed by their demonic possession but are instead replaced by evil. This subtle yet significant distinction allows the films to explore the effects of societal and environmental factors on individuals, rather than just the immediate family. It invites a broader commentary on the impact of neighbors, community, and society as a whole, which is a refreshing and thought-provoking approach to horror storytelling.
This trend may be a response to millennial panic about the state of the world, offering a way to tackle the topic of raising a child in a dangerous and violent environment obliquely, rather than head-on. It also raises the question of whether these films are pushing the boundaries of horror to shock and disturb desensitized audiences, a goal that the genre has always sought to achieve. As the trend continues, it will be fascinating to see how it evolves and whether it will continue to challenge and engage audiences in new and unexpected ways.
