What age is Scary Stories to Tell in the Dark for?
Alvin Schwartz (1927-1992) was an American journalist and writer. His works showed a particular interest in exploring themes related to the folklore and urban legends of his country. In 1981 he published Scary Stories to Tell in the Dark.
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What age is Scary Stories to Tell in the Dark for?
You know that scary stories sometimes harmful for kids. 13 plus age is Scary Stories to Tell in the Dark for. You shouldn’t tell Scary Stories under 13 age children. So be careful about it.
The first volume of a series of anthologies of horror stories inspired by these themes. That first volume featured illustrations by artist Stephen Gammell(specialized in children’s books) and its content was aimed at an eminent child audience.
Despite receiving negative reviews from a sector of parents and primary school teachers. The anthology turned out to be a success, with a couple of more volumes being edited. And to this day it continues to appear on the youth bestseller lists. So the complete series has been reissued a couple of times.
Scary Stories to Tell in the Dark Review
In 2013, CBS Films acquired the rights to the books for its film adaptation. And after two years of working a first treatment with the writer John August, in 2016 they announced that Guillermo del Toro joined the project and that there was the possibility that he would direct it. Which, in the end, did not happen, since that function fell to the Norwegian, with experience in the field thanks to films like Trollhunters –94% and La Morgue – 86%.
Thus, the man from Guadalajara would take the place of producer and have credit for participating by contributing ideas to history.
The plot of this adaptation takes place right on Halloween night in 1968, in a small town in Pennsylvania. There, a young aspiring horror writer named Stella and her friends Auggie and Chuck play a practical joke on their school bully, Tommy Milner, who doesn’t take it well and decides to go after them for revenge. In this persecution, they involve a fourth character with whom the trio of pranksters hides.
After eluding Tommy – the newly formed quartet decides to go on a night raid to an abandoned mansion belonging to one of the richest and oldest families in the region: the Bellows. Stella tells them that a sinister legend weighs on the place, involving the daughter of a said family named Sarah.
While rummaging through the house, they come across a hidden room, inside which Stella finds a notebook that seems to have belonged to the notorious Sarah Bellows, and in it are various macabre tales written in red ink. Without thinking about what she is doing, the budding writer “invites” Sarah’s spirit to manifest by telling her a story.
While this happens, they are locked up by Tommy Milner (who has discovered them and is still upset by the heavy joke) and when they finally manage to escape from the place. Stella realizes that a news story has appeared in the notebook … and that the protagonist is Tommy, who is chased by a scarecrow that is near his farm.
In a short time, they go from suspicion to discovering the terrifying reality:
The spirit of Sarah Bellows is harassing them, writing in her notebook a story related to each of them, where she will confront them and make them succumb to their deepest fears until they realize that all those who invaded your home. And the only way to avoid it is to discover some way to reverse this curse, so looking for keys to achieve it, they will inquire about Sarah’s past and make several chilling discoveries.
The work is actually a new cinematographic bus that brings together a series of short stories. (The vast majority of them extracted from the different volumes that make up the series) under the premise that these happen to a group of young people through the intervention of a spirit whose supernatural anger is unleashed through the haunted notebook in question.
Thus, we will see a grotesque scarecrow parading across the screen, a being that can dismember itself at will and a strange pale-skinned creature, among others. A gallery of horrors that represent some of the deepest fears lying in each of the characters, and in turn symbolize different fears that dwell in the collective unconscious.
Regarding its format, dynamics, and orientation, Scary Stories to Tell in the Dark – 77% does not differ from that used by other horror compilations that have been made before (such as the serial Chills ( Rob Letterman, 2015; Ari Sandel, 2018), for example) and although some of the stories offer the expected shocks in a film of the genre. Its quasi-episodic script is very elementary. Some of its characters feel little worked and the plot is even somewhat predictable.
Although there is no mistaking it:
The presence of these elements does not mean that it is a del Toro film as such. Rather, thanks to their contributions and vast knowledge of the genre coupled with Ovredal’s expertise. They make the film radiate a much darker and more sinister atmosphere than other commercial films directed at that specific audience.
At the same time that it generates a feeling of nostalgia that emerges more from the realm of the sensory. Then the rational (and thus distances itself from other productions that explicitly appeal to the longings of a sector of the audience, such as the recent remake of It ( That) – 85% or the Stranger Things series – 96% ). Because astutely the film is more concerned with evoking than honoring.
Despite its plot flaws, and although Scary Stories to Tell in the Dark – 77% is aimed mainly at the child and adolescent audiences. It has enough elements that enrich and nurture it to make it more interesting compared to other similar productions.
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