The 1. 9 Best Horror Films Of 2. Director: Nicolas Pesce. Writer: Nicolas Pesce. It's a blessing that The Eyes of My Mother is in black and white, because rendered in full color, its garish display of violence would be nearly impossible to endure. ![]() But as it stands, it's all kind of beautiful in a stomach- turning sort of way. When her mother (Diana Agostini) is murdered, young Francisca's (played by Olivia Bond as a child) precocious fixation on dissection and surgery turns into a dark obsession. By the time she reaches adulthood, Francisca (played by Kika Magalhaes as an adult) has let her urges fester and blossom into full- blown psychotic behavior. There is a method to Francisca's madness, but The Eyes of My Mother isn't all that interested in arriving at a satisfying conclusion. It's more of an exploration of themes, an art house indie with plenty of eyeball removal. And frankly, it's the allure of its stylistic gore that makes it worth wading through. ![]() Director: Jim Hansen. Writers: Jim Hansen and Jeffery Self. In most cases, . The audience knows that Joe (Matthew Mc. Kelligon) is being completely serious when he confesses to murder after murder long before his new boyfriend George (Jeffery Self) even notices anything is wrong, which makes for good comedy, of course. But You're Killing Me is also a darkly satirical skewering of self- involvement and insincerity, two qualities shared by every one of its characters except for the psychopath. Director: Mickey Keating. Writer: Mickey Keating. Carnage Park begins as a fairly straightforward crime thriller: Vivian (Ashley Bell) finds herself taken hostage by two thieves on the run. Following some surprise intervention by a sniper — later revealed to be the gleefully homicidal Wyatt Moss (Pat Healy) — Vivian realizes she's in a much more dire predicament, and the film slides into blood- splattered horror territory. Up- and- coming auteur Mickey Keating (who made last year's list with Pod) is adept at genre- shifting, and his affection for pulling the rug out from under his audience keeps his films feeling fresh. On paper, Carnage Park — ultimately a cat- and- mouse game between a killer and his would- be victim — might sound familiar, but everything about the way it plays out is bold and distinctive. Keating, like his characters, remains hard to pin down. Director: Ali Abbasi. Writers: Ali Abbasi and Maren Louise K. Shelley, from first- time Danish filmmaker Ali Abbasi, hits some familiar tropes in its exploration of the paranoid anxiety of pregnancy. Childless couple Louise (Ellen Dorrit Petersen) and Kasper (Peter Christoffersen) seem to have the best intentions when they ask their Romanian housekeeper Elena (Cosmina Stratan) to be their surrogate in exchange for the money she needs to return home, but there's an ominous undercurrent to the exchange. That only builds after Elena conceives and begins to display the body horror symptoms of a parasitic infection. Shelley offers few concrete answers when it comes to the root of the apparent possession, but its nasty conclusion is well- earned. ![]() Director: Fede Alvarez. Writers: Fede Alvarez and Rodo Sayagues. Part of what makes Don't Breathe such a successful modern mainstream horror film — of which there are few — is the way it subverts some of the more popular tropes. Unlike in standard home invasion thrillers (think The Strangers or The Purge), the protagonists are the ones who do the home invading. When Rocky (Jane Levy), Alex (Dylan Minnette), and Money (Daniel Zovatto) break into the home of a blind man (Stephen Lang), they expect an easy heist. Instead, they discover that the man is not only far from helpless, but also completely deranged. He is another clever twist on the link between disability and victimhood — Hush, which also came out this year, does similar work with a deaf Final Girl. But the real measure of Don't Breathe's effectiveness is how unbearably tense it is. Fede Alvarez is a modern- day master of suspense. ![]() Director: Na Hong- jin. Writer: Na Hong- jin. The Wailing is a strange, sprawling two- and- a- half- hour epic about a police officer, Jong- goo (Kwak Do- won), investigating a series of odd illnesses and deaths while trying to save his daughter, Hyo- jin (Kim Hwan- hee), from suffering a similar fate. The plot isn't hard to follow — there's a suspicious old man, a mysterious young woman, a shaman with questionable motives — but it borders on exhausting. That could easily be a mark against The Wailing, but this is the kind of film that works best when you give yourself over to it entirely. The 100 best horror films The best horror films and movies of all time, voted for by over 100 experts including Simon Pegg, Stephen King and Alice Cooper. The horror genre gets a bad rap. Regrettably, that’s because many films within the genre believe they can skimp on one aspect of storytelling, such as characters or.
It's that omnipresent chaos and uncertainty that ultimately makes The Wailing such a memorable horror film. Every step (or misstep) Jong- goo makes leads him further down the rabbit hole, and we're along for the ride. Directors: Radio Silence, Roxanne Benjamin, David Bruckner, and Patrick Horvath. Writers: Matt Bettinelli- Olpin, Roxanne Benjamin, Susan Burke, David Bruckner, Patrick Horvath, and Dallas Hallam. It feels a little unfair to call Southbound an anthology film. A horror film is a movie that seeks to elicit a physiological reaction, such as an elevated heartbeat, through the use of fear and shocking one’s audiences. Best Horror Movies We went down into the crypt, opened the coffin, and summoned the 75 best-reviewed horror films of all time. Behold -- it's RT's Horror Countdown, a. Best Horror Movies On Netflix Right Now It’s hard to catch all the best scary movies on Netflix. We did the hard work for you. Yes, it's essentially a series of short films with a wraparound story, each with its own set of writers and directors, but these tales are far more intertwined than that genre designation would suggest. Taken as a whole, the film builds on a powerful sense of dread, which is underlined by a final sequence that makes Southbound's narrative conceit clear. These characters are doomed, bound in an endless cycle of guilt and violent retribution, and that sense of futility and uneasy d. Her transformation from meek and put- upon to dominant and sexually aggressive is central to this psychological thriller about fractured identity. It all plays out in the not- so- friendly competition between two aspiring actors, Davis's Anna and her more successful best friend, Beth (Caitlin Fitz. Gerald). Always Shine shares some fairly obvious DNA with Single White Female and Mulholland Drive, but it stands on its own thanks to Sophia Takal's confident direction and the strength of its two leads, whose rivalry seamlessly transitions from merely uncomfortable to life- and- death. Their showdown is one of the scariest moments committed to film this year. Director: Perry Blackshear. Writer: Perry Blackshear. The question at the center of They Look Like People is simple: Is Wyatt (Mac. Leod Andrews) losing his mind, or is everyone around him really turning into an evil creature bent on humanity's destruction? But the answer isn't really evasive, and beyond it lurks a more pressing question: Can Wyatt's old friend Christian (Evan Dumouchel) save him from himself? It's fascinating to watch this film shift from the standard paranoid horror of Invasion of the Body Snatchers — everyone is a pod person! The climax, in which Wyatt wrestles with his demons while Christian's life hangs in the balance, is nearly unbearable. Without giving too much away, the monster in his own head proves way more frightening than any outside threats. Director: Carles Torrens. Writer: Jeremy Slater. It's hard to talk about Pet without talking about the major twist that completely undermines everything that came before it. It's a brilliant conceit that transforms the movie you thought you were watching into something else entirely. Dominic Monaghan stars as Seth, a troubled loner who appears dangerously obsessed with a beautiful stranger named Holly (Ksenia Solo). Once he locks her up in a cage, you think you know how things are going to play out, which makes the gut- punch of what's really going on hit you that much harder. Even before that, the dynamic between Monaghan and Solo makes for compelling viewing. Pet might be a tough sell to anyone who is tired of horror films about creepy men exerting control over innocent women. But if you stick with it, you'll find a far more complex and rewarding narrative. Director: Yeon Sang- ho. Writer: Park Joo- suk. Seok- woo (Gong Yoo) is an absentee father whose plans to take his daughter, Soo- an (Kim Soo- an), to visit her mother are derailed when their titular train is overrun by zombies. No, we don't really need another zombie movie, but if more within the genre were as deft as Train to Busan, there'd be no cause for complaints. The film does so much of what The Walking Dead wishes it could, balancing subtle character drama with bloody, zombie- heavy set pieces that propel the action along. It's daring when it needs to be and somber when the moment calls for it; never does Train to Busan forget that at its center is the story of a father struggling to connect with his daughter (and, you know, protect her from hordes of the undead). Director: Babak Anvari. Writer: Babak Anvari. Much like in The Babadook, the fractured relationship between a mother and a child is closely aligned with a demonic presence in Under the Shadow. In the war- torn Tehran of the '8. Shideh (Narges Rashidi) is coming to terms with her thwarted medical ambitions while trying to understand the strange behavior of her daughter, Dorsa (Avin Manshadi). Under the Shadow offers a pointed look at the role of women in post- revolutionary Iran, and Shideh is an engaging, fully realized character at the heart of the story. It is also, again like The Babadook, thoroughly terrifying. The entity antagonizing the family here — which is identified as a Djinn, fitting with the setting — offers plenty of scares throughout. That's extra impressive given that Shideh and Dorsa are also seeking shelter from falling bombs, a more realistic and understandable fear. Director: Dan Trachtenberg. Writers: Josh Campbell, Matt Stuecken, Damien Chazelle. Yes, there is some sort of thematic link between this film and the 2. Cloverfield. But even if 1. Cloverfield Lane is a spiritual sequel (whatever that means), it's more of a restrained, claustrophobic horror film than the city- destroying chaos of the earlier movie. After getting in a car accident, Michelle (Mary Elizabeth Winstead) wakes up and discovers that she's being kept prisoner alongside Emmett (John Gallagher Jr.). The Classic Horror Films (1. The Golden Age of Classic Horror Films. INTRODUCTIONHorror was one of the cornerstones of the burgeoning cinema of the 1. Why this should be is a profound question. Perhaps it was because the horror story translated more successfully to the silent film stage than many forms of drama. After all, the horror story has often been much like a morality play or a familiar fairy tale. We do not need to hear the lines; the emotions and motivations of the actors are felt by all. Certainly, horror films of the silent era and into the early years of the sound motion picture (and even to the present day?) exhibit a heightened air of melodrama which is not always fairly attributable either to the material or to the quality of the performances. With the advent of sound, the horror film underwent a transformation and the craft of the film, the methods of producing the effect of terror or horror, became more subtle, and more personal. Many of the familiar classics of this period must be recognized for their importance in the history of the genre, yet I confess to being less impressed by some of these (e. Frankenstein) than with the lesser known efforts of the period like The Mystery of the Wax Museum and Dracula's Daughter. Even in these early years a large volume of celluloid was generated which is not worth watching, usually for matinee features and serials, although the available venues for such junk were far fewer than today. In the case of major production features, the criticisms I have are sometimes a little unfair. If these limitations are understood in their proper context, these older works can be viewed less critically. Notwithstanding this apology, there are some, particularly those produced before 1. They are the true classics, worthy efforts by the standards of any age. They are morality plays in many cases; the post- modern rite of exorcism. They represent the restoration of order in society at a time when western civilization still clung with failing strength to attitudes, virtues and beliefs of a banished past, of Victorian empires and Western frontier expansion, of boundless opportunity and hope for the future; when the real horrors of the Great War and its aftermath had shattered that illusion and the whole world began to sense, dimly but certainly, that what the future held was worse still. As the nuclear age dawned in the late 1. From House of Wax to Frankenstein - the True Story. From Romero's Night of the Living Dead to Stephen King's The Shining. From The Blair Witch Project onwards.
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