By Chuck Strouse
By Scott Fishman
By Terrence McCoy
By Ryan Yousefi
By Ciara LaVelle, Kat Bein, Carolina Del Busto, and Liz Tracy
By Pepe Billete
By Ryan Yousefi
By Kyle Swenson
Perhaps it's because we see real-life violence on the news every day now, not to mention in political documentaries, but nobody seems too worried about excessive bloodletting in the movies anymore. That's good news for gorehounds.
The year kicked off with Ashton Kutcher impaling his own hands in The Butterfly Effect and continued with a full-fledged revival of the zombie movie, starting with Zack Snyder's Dawn of the Dead remake, continuing with the video-game-based Resident Evil: Apocalypse, and going truly international with the U.K. hit Shaun of the Dead. Cary Elwes hacked his own foot off in Saw, John Waters got his face melted in Seed of Chucky, and "comedy" troupe Broken Lizard used tits and blood to (unsuccessfully) sell its Club Dread. Meanwhile, Hellboy and Alien vs. Predator showed that you can have as many disembowelments as you want in a PG-13 movie, provided the only victims are demons and outer-space creatures that bleed funky neon colors. From across both oceans, Tae Guk Gi: The Brotherhood of War and A Very Long Engagement brought the intensity and realism of war to an audience that may not have expected it.
The award for Funniest Use of Gore goes to Team America: World Police, in which Danny Glover and Sean Penn (in puppet form) got mauled to death and had their guts chewed on by Kim Jong-il's "giant panthers" (actually a pair of black housecats). The Pointless Gore Award goes to art-house snoozer Twentynine Palms, for the scene near the end when the protagonist suddenly appears to turn into the Toxic Avenger.
Still, the biggest triumph of big-screen bloodletting came indisputably thanks to Mel Gibson, who managed to peddle a splatter movie to the very people who've condemned them most loudly. His secret? Make sure that the person being stabbed, beaten, ripped apart, abused, and mutilated happens to be Jesus Christ. Do that, and audiences will even read subtitles.