Review: Sleep Tight

If you are on the lookout for a really solid thriller, look no further than Sleep Tight.

Sleep Tight was written by Alberto Marini  and directed by Jaume Balagueró (half of the guys who brought us the [REC] series, but not the half that did [Rec] 3). César (Luis Tosar) is the concierge at a swanky apartment building (seriously – this place is gorgeous). Polite, hospitable, he congenially takes care of the tenants’ every wish. But César isn’t what he appears to be on the outside. And he is more involved with his tenants’ lives than they realize. Take Clara (Marta Etura), for example. His favorite project. He quietly sneaks into her apartment every night and finds little ways to torment her. Why? you may ask?

César’s motivations throughout the film (which I won’t spoil) are a huge part of what gives this story its teeth. It’s nothing so simple (and tired) as guy stalks girl he obsesses over even though she rejected him, or anything like that. César’s motives are much more cerebral (and dastardly). This isn’t simply the story of some obsessed stalker – it goes deeper and more to the core of César’s psyche. What is particularly unnerving is the fact that his motivations are not completely unfamiliar. They tap into thoughts and a state of mind that many people have had in their lives, which can be a chilling comparison – are we really so different from this psycho?

This is a really tight, suspenseful, Hitchcockian thriller. Balagueró delivers a very well-shot,  captivating story.  In the grand tradition of voyeuristic classics, Sleep Tight is all about watching. César watching and toying with Clara, and the audience watching the process, horrified, yet enthralled at the same time.

Tosar gives a really power performance as César. You are certainly never rooting for him throughout his many rendezvous into Clara’s apartment, but you can’t quite bring yourself to hope that he gets caught, either. He is an intriguing character; one that you can’t turn away from, but one that you also don’t want to get too close to. But you always want to see what will happen next.

This is a very well-crafted film that will keep you on the edge of your seat through the final shot. It gets into your head because it presents the notion that your home is no longer safe. Your space is not the sanctuary you thought it was, and being there does not necessarily guarantee protection. I promise you will immediately want to go out and buy like 10 more locks for your door after the credits roll. Sleep Tight is available now through VOD.

Horrorella’s 31 Days of Halloween: Trick ‘r Treat

Happy Halloween, everyone! Welcome to the end of Horrorella’s 31 Days of Halloween. I had a blast writing these posts for this awesome-est of holidays, and I hope you had fun reading them. Today, now that The Great Day is upon us, I bring you one of my all-time favorite Halloween films (and hope it becomes one of yours as well, if it isn’t already) – Trick ‘r Treat.

Trick ‘r Treat is hands-down one of my Halloween favorites. No question. A lot of what I watch every October varies from year to year, but I always watch Trick ‘r Treat in the days leading up to Halloween. It is absolutely one of the best viewing experiences that you can have this month. It just rocks.

Written and directed by Michael Dougherty (and based on his short, Season’s Greetings) Trick ‘r Treat is an an anthology film that tells four loosely connected stories, all taking place on the same Halloween night. A shy virgin gets ready for her first big Halloween party, a group of kids play a mean prank, a father and son prepare to carve a jack-o-lantern together, and a grouchy old man learns the consequences for failing to embrace the spirit of the holiday. On the periphery of each of these tales is Sam, my favorite Halloween mascot, watching over the holiday.

There are few films that really capture the atmosphere and feel of the holiday like this one does (John Carpenter’s original Halloween is really the only other one that manages to capture the vibe). There is no distance between you and the setting. You’re not just watching a movie that takes place on Halloween. Trick ‘r Treat manages to transcend the barrier and fully embody Halloween, rather than just embracing it.  When you watch this movie, you know it’s Halloween, because it makes you feel it. It’s one of the big reasons the film works as well as it does (and one of the main reasons that I love it so much).

This film had a bit of a rocky start in the world. It was originally scheduled to be released by Warner Bros. in 2007. They pulled it, and it sort of hung in limbo for a couple of years. Every so often, rumors would start spreading about a possible release, but nothing ever materialized. The prevailing theory was that Warners couldn’t figure out a way to market the film (apparently, they missed the memo that said “all you have to do is release a Halloween-themed movie and the horror nerds will be all over it”). Eventually, it was unceremoniously dumped on DVD in 2009. And while that wasn’t the birth that it deserved, we were all happy to finally have it. It was immediately celebrated by genre nerds everywhere. This film has gained a massive cult following over the past couple of years, and finds more and more fans every Halloween, thanks to Fear.net’s 24-hour Trick ‘r Treat marathon.

This is a must see. I can’t recommend it highly enough. It is clever, scary and tons of fun. A great addition to the holiday. Halloween is not complete without a screening of Trick ‘r Treat. Be sure to check it out!

Horrorella’s 31 Days of Halloween: The Monster Squad

Okay, guys. Tomorrow is Halloween. Get ready to feel like a kid again with The Monster Squad!

If you haven’t seen The Monster Squad, you had better fix that damn quick. This ‘80s classic tells the story of a group of friends who must stop Count Dracula (Duncan Regehr), who is in search of a powerful amulet that will grant him control of the world. To aid him in his quest, he enlists the help of the Wolfman (Carl Thibault/Jon Gries), Frankenstein’s Monster (Tom Noonan), The Mummy (Michael Reid MacKay) and The Gillman (Tom Woodruff Jr.). Only The Monster Squad has the knowledge and the power the stop them.

Words cannot express how much I fucking love this movie. I first saw it at my friend’s house, on her swanky HBO channel when I was about nine years old. I immediately fell in love. It was awesome. It was funny, it was scary, it was exciting – it had everything. It referenced monsters that I easily recognized, even though I didn’t have the breadth of horror knowledge that I do know. I wanted Rudy to be my boyfriend. It was the perfect movie.

I went home so excited. It was fantastic. I had just discovered a treasure, and I had to see it again. The next time we were at the video store, I begged my dad to let me rent it. My parents however, sucked, and wouldn’t allow it on the grounds that it was a PG-13 movie and I was only 9 (nevermind the fact that I had already seen it). Fucking bullshit. I protested a lot, cursed the MPAA, but their lameness prevailed. I wouldn’t see Monster Squad again for 15 more years (but I would remember “Wolfman’s got nards” forever).

I finally had the opportunity to get acquainted with my old friends again a few years ago, when The Monster Squad was finally released to DVD. It was exactly as I remembered it. But better. I didn’t realize at the time just how clever that movie was when I first saw it (I also didn’t know who Shane Black was at the time, so I can be forgiven). This flick isn’t just cheap thrills for the kiddies. It carries with it such a love of the horror genre – and not just the Universal classics. The slasher craze (which was reaching its imminent decline when this film was made) is referenced a bit in the beginning when Sean (Andre Gower) wants to watch Groundhog Day Part 12. It’s a bit of a slam, sure, when his dad (Stephen Macht) rails on it for being crappy and without substance, but then a few minutes later, Father and Son are sitting on the rooftop watching the movie through binoculars as it plays at the drive-in a few blocks away, enjoying every second of it.

In addition to one of the most fun plots on the planet (seriously – who wouldn’t welcome the opportunity to take down all the classic monsters at once?) The Monster Squad also features some truly epic makeup and creature effects by Stan Winston. I love Tom Noonan as Frankenstein’s monster.

This movie is special – films like this just aren’t made anymore. The Monster Squad is one of those films that could only ever have happened at a very specific place and time. They have been talking about remaking it for years now, but if they did, it would be so different. The Monster Squad defies genre – it’s a horror movie aimed at a young audience. While it is a fun, comedic a kids’ movie, it is also scary and violent (to a certain extent). Plus, in what other movie are you ever going to hear Dracula call a five-year-old a bitch?

The Monster Squad is a generational classic, and a film that many of us hold dear to our hearts. What better time to pull out an old favorite than Halloween?

Horrorella’s 31 Days of Halloween: The Hills Have Eyes

Halloween is the perfect time to get caught up on old classics that, for whatever reason, have slipped under your radar. This weekend, in addition to watching Mario Bava’s Black Sunday for the very first time, I also sat down with Wes Craven’s original The Hills Have Eyes.

In The Hills Have Eyes, the Carter family is driving across the desert, on their way from Ohio to California on vacation. Their car skids off the road and crashes, breaking the axle and leaving them stranded. Before long, they are set upon by a clan of bloodthirsty cannibals who live isolated in the desert and prey upon wandering travelers.

I had seen the remake put out by Platinum Dunes a few years ago (directed by Alexandre Aja). I was actually surprised (and kind of impressed) to see how closely the remake followed the original. That being said, I thought Craven’s film had more raw quality to it, and was ultimately more unnerving. While the remake is certainly intense, the grainy quality of the original and it its no-holes-barred attitude makes it feel more vicious. It’s not as polished, so you feel less like you’re watching a movie from the safety of your couch and more drawn into the dangers onscreen.

This film is classic Craven, and that is what I love so much about it. Like in The Last House on the Left, Craven uses the events in this film as an examination the effects of extreme violence on the modern family unit. The Carters are regular people – good people. They could easily be your next door neighbors. They find themselves in horrific circumstances through no fault of their own. Wrong place, wrong time.

When they are left on their own and must fight for their survival, we are left to contemplate what really separates us from the likes of the cannibal clan. How far will you go in the name of survival, and how much further will you go after that? In the ‘70’s, Craven was all about making us examine the role of violence in our society, and he typically did so in very uncomfortable ways. His films were raw, angry and very unpredictable. In that regard, I vastly preferred the original on the basis of its ending. The savagery of those few final moments sticks with you so much more than the entirety of the remake, and makes a very pointed statement in the process.

I’m glad I finally sat down to watch this horrific classic. Craven’s work (all of it, but particularly the earlier stuff) makes for fascinating cinematic study, as well as an entertaining watch.

Horrorella’s 31 Days of Halloween: Black Sunday

Day 28 is upon us. Halloween is right around the corner! Today, I am celebrating my first viewing of Mario Bava’s gothic classic, Black Sunday.


Black Sunday (also released under the title, The Mask of Satan) is an Italian horror film, released in 1960. It was the directorial debut of the legendary director, Mario Bava. Black Sunday opens in Muldavia in the 17th century. An inquisition is sentencing the witch Asa Vajda (Barbara Steele) to death in one of the most memorable (and ghastly) scenes of the film. Before she dies, Asa places a curse on her judge (her brother), vowing that one day, she would return to deliver vengeance to his descendants and would live again. Two hundred years later, a pair of doctors are traveling through the area. Their carriage loses a wheel, and they decide to explore the ruins of a nearby chapel while it is being repaired. They find themselves in the crypt, and stumble upon Asa’s tomb. They unwittingly releasing her from two centuries’ confinement and she is now free to carry out her curse and find life again through her brother’s descendant, Princess Katia (also played by Steele).

Black Sunday displays an elegance that is not to be found in a lot of horror films from this period. The gothic style, perfected by the likes of Bava and by the Hammer films, was imitated to no end, resulting in a mountain of schlocky films, crowned by a handful of good ones. Through some creative camera work Bava is able to offer more in the way of haunting moments than many of his contemporaries, which is one of the reasons this film has remained such a classic. A simple gust of wind, for example, carries more emphasis in this film than in any other. It is a very thoughtfully-rendered piece with carefully crafted moments.

Barbara Steele is amazing (and bewitching) in the dual roles. As Katia, she is absolutely lovely – beautiful, enchanting. As Asa, she is sexy and intensely vicious. It is impossible to take your eyes off her – particularly when she is returning to life and her corpse goes through several stages of haggard. She owns both roles, and gives entrancing performances. Her presence is part of what makes this film stand out.

And the setting is fantastic – creepy forest, gnarled, twisty trees, and lots and lots of mist. It’s a chilling backdrop to this haunting story, and it sets the scene perfectly. Add to that an old castle and a ruined crypt, and you get one of the most atmospheric gothic stories in cinema.

Black Sunday is one of the great horror classics, and while some aspects are obviously a little dated it still holds up magnificently today. If you’re looking for an atmospheric chiller in the classic gothic tradition, this one is guaranteed to make your Halloween a little spookier.

Review: Marianne

Thanks to Ain’t it Cool News, I got to check out a film from Sweden that I have never heard of until now. And I’m really glad I did. Marianne is a well-crafted ghost story that banks on it script and the strength of its actors, rather than on cheap thrills.

Marianne opens with Krister (Thomas Hedengran), mourning the loss of his wife, Eva (Tintin Anderzon). She was killed in a car accident, leaving Krister alone to raise their infant daughter, Linnea, and try to repair his damaged relationship with his teenage daughter, Sandra (Sandra Larsson). We learn through flashbacks that Krister hasn’t been the most faithful husband and father over the years, and that his relationship with his wife and daughter have been strained on multiple occasions. He had been on the path to making amends for past actions and trying to make it up to them, when the tragic accident struck.

Soon after the funeral, Krister begins having nightmares. He dreams of a red-haired woman, dressed in green. She enters his room at night, and he finds himself unable to move from his bed, as he hears the clicking of her heels and the grinding of her teeth. The sleepless nights begin to affect his work as a high school teacher, so he takes the recommendation of his boss and starts to see a counselor (Peter Stormare). The counselor theorizes that he is suffering from sleep paralysis (look it up – it’s a really terrifying phenomenon), which, while frightening, is ultimately not dangerous. As their sessions continue, however, he begins to wonder if it might not be representative of a deeper underlying problem. Sandra’s boyfriend, Stiff (Dylan M. Johansson), on the other hand, has other thoughts. A bit of an amateur spiritualist, Stiff believes the woman to be a Mare – a bit of Swedish folklore that is said to torment people as they sleep.

While Marianne does contain creepy moments (particularly the dream sequences), I really enjoyed its dramatic nature and the emphasis on the story as a family drama. The strength of the story is really in watching Krister, haunted and consumed by his guilt and grief, try to come to terms with and atone for his past sins. He is trying to move on from the accident and to keep his family together, but his cracked relationship with his daughter is standing in his way. But how can he mend that breach now that she is grown, willful and making her own choices?

He feels nothing but guilt over how he treated his wife, and frustration at not being able to make things right now that she is dead. We learn about Krister and his past through various memories that he relives throughout the story. He sees these things every day – a constant reminder of his failings to his family and his inability to live up to his role.

We also see how these events have affected (and continue to affect) his daughter. We watch as Sandra struggles against the rage she feels toward her father, yet is unable to completely cut the tie that connects them. It would have been really easy for this character to come off as the stereotypical angry goth teenager, but Larsson was really able to give the character a rich presence and avoid that trap. She elegantly conveys both aspects of the character: the betrayed child and the angry teenager that she turned into and that we see in the film.We see the fear and hurt behind the rage, and understand where it came from.

The sudden transitions through time as Krister remembers past events can be a little jarring at first, but are not difficult to follow. Especially as the story unfolds are we are given more and more pieces to the history of this family. It builds itself slowly, allowing new information in at a steady pace, filling this out into a tight, dramatic story. As we move forward and the nighttime terrors continue, we (along with Krister) are left to wonder if he is being haunted by his own past and driving himself into insanity, or something more sinister and otherworldly is at play.

While I never found this story to be overtly terrifying, it did have some good atmospheric moments. The nightmare scenes were well-crafted, building slowly on tension and suspense, rather than jump-scares and gore. The backbone of the story lies in it being a skilled look at the breakdown of a family unit and thoughtful, well-acted examination of guilt. This isn’t a traditional ghost story, but it is a well-made, low budget film with some genuinely creepy moments.

You have the opportunity to view Marianne online for FREE for one week only, courtesy of Ain’t it Cool News. This is an awesome opportunity to check out a well-made low budget film. But it will only be up through next week, so be sure to watch while you can. This isn’t available on DVD in the States yet, so don’t miss the chance to see it now.

Horrorella’s 31 Days of Halloween: The Bride of Frankenstein

Day 26 – Time to roll out an undisputed classic!

The Bride of Frankenstein was released in 1935; four years after its successful predecessor. Like Frankenstein, this sequel was directed by James Whale, and reunited much of the original cast, including Boris Karloff who returned (and not for the last time, either) to play the monster, Colin Clive as Henry Frankenstein and Dwight Frye, who played different assistants to Frankenstein in each film.

Bride picks up about where Frankenstein left off. Frankenstein vows to his new bride, Elizabeth, that he is finished with his experiments on the dead. The monster, thought by the villagers to be dead, resurfaces not long into the film, and begins wandering through the countryside. The villagers once again form a hunting party and track him down, binding him and imprisoning him in the village. Since the creature is super-strong, it isn’t long before he breaks out and is on the run again. In the meantime, the strange figure of Dr. Pretorius (Ernest Thesiger) turns up at Frankenstein’s doorstep. Henry’s former mentor has sought him out after word of his experimentation has spread. Pretorius is obsessed with the creation of life, and hopes to team up with Frankenstein in the hopes that their combined efforts can produce a mate for the monster. When Henry refuses, Pretorius kidnaps Elizabeth and holds her hostage until Henry agrees.

While Frankenstein presented themes concerning of the consequences of playing God, and of man having responsibilities to and for his creations, it is in Bride that these themes become solidified. This film stresses the fact that man should not strive to emulate God, and that some things should just be left out of our reach. Henry’s (and in the case of Bride, Pretorius’) obsession with reaching beyond the confines of human limitations ultimately lead to destruction and death.

Whale intentionally made the monster more intelligent in this film, which allowed not only more characterization, but allowed him to further the idea that the monster is more a victim of circumstance and misunderstanding than an actual villain (particularly when compared with the initial cut of Frankenstein, which didn’t include the scene of the monster playing with the little girl, Maria, by the river. With that bit removed, audiences were left with the impression that he had malevolently murdered the little girl). This incarnation of the monster really stands out from the first film, in that the audience gets a better idea of what his thoughts and feelings are, since he is able to begin to articulate them.

And while the story isn’t told as a farce, Whale did inject more humor into this film than can be found in Frankenstein, which makes it a lot of fun. Particularly from actress Una O’Connor, who plays a servant in the Frankenstein household, and has some strong opinions on how the creation should be handled. She is a great addition to the cast. Thesiger too, is fantastic as Pretorius. He has something of a dry, sardonic humor to him that really makes him entertaining to watch.

If you’ve never actually sat down to watch this classic, I highly recommend taking the time. It really is a brilliant film that, in my opinion, surpasses the original.

Horrorella’s 31 Days of Halloween: Halloween III: Season of the Witch

For a few days now, my Twitter feed has been exploding by people tweeting the Silver Shamrock song. So I took it as a sign that it was time to sit down and experience Halloween III for the very first time.

Halloween III: Season of the Witch is a serious departure from the other Halloween films. It has nothing at all to do with the events in Haddonfield, and doesn’t even feature Michael Myers. It takes place in Northern California and stars the always awesome Tom Atkins as a doctor who is presented with  a strange case at the local emergency room. A man is brought in after being assaulted. Not long after, a strange man (MIB-type) sneaks into the hospital and kills the patient. After, he walks out the parking lot, gets into his car, and sets the whole thing on fire, killing himself. A few days later, the deceased patient’s daughter (Stacey Nelkin) shows up, looking for answers. Her father, the owner of a small shop, had recently gone to a small town called Santa Mira to pick up an order of insanely-popular Halloween masks from the Silver Shamrock factory. They figured that would be a good place to start. What they find in Santa Mira is anything but ordinary. A small town where everyone is very much in everyone else’s business, they are under watch from the moment they arrive. Silver Shamrock hides a secret deeper and darker than they can imagine.

Halloween III is definitely flawed, but I still found myself enjoying the experience. It’s absolutely a messy film though. The story tries to balance a lot of different plot lines, and not all of them get wrapped up as neatly as they could have. Sometimes the characters spend time chasing one lead (often for far too long), when you would rather be learning about something else, and plot holes abound. It’s a little chintzy-looking at times with cheap sets and some low-level special effects. It’s definitely not a masterpiece.

What it is – is inventive and mean-spirited. Not in an overly-gory, violent kind of way, but more in the overall development of its plot and themes. It plays with some dark concepts that aren’t typically found in horror films, which is one of the reasons it stands out .

Sci-fi writer Nigel Kneale (the Quatermass series) wrote the original script, which was more of a psychological piece, light on violence. Producer Dino de Laurentiis had director Tommy Lee Wallace add more standard horror elements to the script. While the original plot remained intact, Kneale was displeased with the final result, and requested that he not be given a writing credit.

This film got a bit of a bad wrap when it was first released, Fans of the Halloween franchise were expecting more Michael, and were disappointed and angry when this film didn’t deliver on the promise of the series. John Carpenter and Debra Hill (who produced the film) were not interested in returning to Haddonfield, and only decided to go a completely different route with this project. After a disappointing release, Michael was brought  back for Part 4. It would have been really interesting if they had gone ahead with their initial plan though. If Halloween III had been successful, they had wanted to create an entirely new story centered around the holiday for each release. It’s a bold and interesting concept that doesn’t play by the standard franchise rules. It would have been cool to see it play out. Not that I’m complaining about the direction they went though. While not all of the sequels were golden (some were outright abysmal and none even come close to the original, in my book), there is some good work to be found among them. Halloween 4 is solid, and I enjoyed the way H20 returned the story to its source.

While I promise that Halloween III won’t be the best or scariest thing you’ve ever seen, I do recommend it as an interesting, worthwhile viewing experience, despite its numerous flaws. Part horror, part sci-fi, part Body Snatchers and part psychological, nihilist thriller, Halloween III wears its hats a bit unevenly, but I give it points for creativity and for trying to break out of the mold.

If you’ve held off on seeing this one either because of it’s reputation or for its lack of Michael Myers, October is an excellent time to remedy that. It’s not the best flick you’ve ever seen, but it is definitely worth taking the time. I won’t hold it up as an overlooked classic, but I will call it an overlooked point of interest.

Horrorella’s 31 Days of Hallowen: Favorite Unnecessarily-Sexy-Halloween-Costumes

As we grow up and get further into the land of adulthood with bills and rent and crap and bullshit and responsibility (whatever), it seems only natural to want to hold onto the child-like joy that accompanies Halloween. What used to be solely a kid’s holiday is now enjoyed by children and adults alike. You’re never too old for Halloween – it’s a scientific fact.

And for whatever reason, part of celebrating Halloween as an adult is the desire to find the sexiest costume possible. It makes sense – Halloween is all about breaking taboos. When you were a kid, it allowed you to be something scary and evil with no consequences. Now that you’re all growns up, sometimes that means being a little naughty for just one night. It won’t count against you. Anything goes. It’s part of the fun of it – to break down the standard barriers and go whatever your brand of crazy is for one night of the year. For many people, that lure is for a sexy costume.

But sometimes the sexy costumes enter the realm of ridiculous. Naughty nurse, I get. Dirty cop, sexy witch, voluptuous vampire – these I all understand. I’ve even dressed up as them a time or two (I had an awesome vamp dress that got some serious mileage in college). I’m not knocking sexy costumes. But there is a limit, people.

Here, I bring you my top 10 “Why-the-Fuck-Why-Did-We-Make-These-Sexy?” Sexy Halloween Costumes. Here we go (in no particular order):

Sexy Clownfish – You know what Finding Nemo really needed? More boobs. Fish are way cooler with cleavage. I’m sure Pixar is so proud.

Sexy Watermelon – Sexy food. Yes.

“What are you going to be for Halloween?”

“I’m going to be watermelon.”

“…”

Sexy Freddy – I don’t know if you’ve ever met Freddy Kruger before, but he’s not sexy. At all. He’s scarred, and demonic, and scary and really really mean.

And the last time I checked, Freddy wasn’t wearing a dress…

Sexy Skunk – This costume seems to be for chicks who want to dress up as slinky cats, but decided they needed to break out of the mold a bit. So…a skunk…hot…

Sexy Ghostbuster – I’ve watched this movie a thousand and seventy-three times. I’m pretty sure this isn’t a real character. Plus, it’s just impractical. She’s going to get slime all over her.

Sexy Ninja Turtle – Really? You couldn’t just go as April? You had to put Leonardo in a dress? This kind of costume kind of creeps me out because it’s sexifying stuff from my childhood. Just like Rainbow Brite and Strawberry Shortcake shouldn’t be turned into hookers, neither should the turtles. 

Sexy Jason – This one might be my favorite. It’s called “Ms. Voorhees.” Note that this isn’t MRS., as in Pamela, killer mom. This is MS. Voorhees, as in Girl-Jason.

Plus, it looks nothing at all like Jason. What movie was it where Jason wore a hockey jersey with his own face on it? At least the Freddy costume was trying.

The whole point of characters like Freddy and Jason is that they are SCARY. They don’t fit into the SEXY part of Halloween. They are meant to terrify. If you want a sexy costume, try something else.

Sexy Brian – This one is sort of a double-whammy: Not only is it needlessly sexy, it’s borderline lame, because it’s not obvious. You are running the strong risk of people not knowing what the hell you are without an explanation.

Sexy Burt – REALLY? You have to sexify Sesame Street? Is nothing sacred?

And the hat just makes me laugh…

Sexy Blowpop – My problem with this one isn’t that it’s sexy- it’s that it’s lazy. Halloween takes effort. Not a ton – you can pull it off pretty easily and still score points. But more effort than this. This costume is literally a t-shirt dress with “Blowpop” written on it. Plus, it kind of implies that you’ll be giving out blowjobs all night, so be careful who you talk to.