The Fox and the Hound belongs to what has been unofficially deemed the Dark Ages of the studio, those 18 years that commenced shortly after Disney’s death and proved, with some exceptions, generally less popular, either critically or financially.
The most intriguing films I saw were premised upon an often performative return to the near or distant past to resolve pesky questions of home or relationships, which is to say, inevitably, questions of identity and inheritance.
Several films on view continued to reckon, indirectly or otherwise, and to varying degrees of success, with our era of disrupted intimacy and heightened loneliness. Titles include Quickening, The Humans, and The Power of the Dog.
Although one cannot say Candyman shies away from body horror, DaCosta judiciously wields this imagery to meaningfully express the psychological and physical legacies that Black communities inherit, bonded by these tales of terror, which are, in fact, history.
The American Gothic, particularly as practiced by literary forebears Nathaniel Hawthorne and Washington Irving, tends to orbit around concepts of evil, madness, and the supernatural. But ultimately no monster ever compares to humans driven by fear.
Two writers dive into the deep, red waters of genre.