And break it she does. Release date: April 5 Cast: Christopher Rygh, Cora Kaufman Director: Jordan Downey ThanksKilling Why it's good: A lone warrior in an unnamed ancient land does battle with all sorts of monstrous foes, until one day he gets a chance to avenge the death of his only child. This darkly beautiful and powerfully atmospheric import is light on plot but heavy on mood, plus it's pretty short and to the point, and the ending is pretty damn solid. Where to watch it: VOD.
I'm usually a sucker for low-key Irish horror flicks, and while this one takes a little while to warm up, it turns out to be a quietly satisfying chiller when all is said and done. So let's give some credit to a horror sequel that not only heads off in some unexpected directions, but some pretty weird ones, too. Director: Justin McConnell Galaxy of Horrors Why it's good: A monstrous shapeshifter runs through a whole series of unfortunate victims on a quest to find a mysterious woman.
Yes, the monster is the main character, which is fascinating by itself, but this clever indie horror flick also treads into some surprisingly deep, touching, and thought-provoking waters. It's also super gory, which is a plus. Release date: May 26 Cast: Allison Williams, Logan Browning, Steven Weber Director: Richard Shepard The Matador Why it's good: You know those wonderfully, willfully trashy thrillers about wealthy, gorgeous, talented people who end up doing simply terrible things to one another? This movie, which screened at Fantastic Fest in , is exactly like that.
It starts out like a war of wills between two world-class musicians To say much more would ruin the dark surprises, but I have a sneaking suspicion that this movie will become a trending topic for at least one night. It's that insane. Where to watch it: Netflix. Release date: February 9 Cast: Keith David, Tony Todd, Loretta Devine Director: Xavier Burgin Why it's good: This one is cheating a bit, because it's not a horror movie, but a fantastic documentary about the impact, influence, and artistry of black filmmakers within the horror realm.
Since this is a space for horror fans, though, and this is a film horror fans should watch, I'm including it. There's so much that's worth covering, Shudder could probably turn this into a longer series Where to watch it: Shudder. It's about a bunch of condemned criminals put to work inside a space station that's on its way to a black hole Part sci-fi mind-twister, part claustrophobic horror story, it features some fantastic work from Pattinson and a whole lot to say about the innate nature of humanity -- and not much of it is pleasant.
I'm not entirely sure I even "get" all of this flick after only one visit, but it certainly kept my interest throughout. Where to watch it: Amazon, iTunes, Vudu, etc. Release date: January 31 Cast: Jake Gyllenhaal, Rene Russo, Toni Collette Director: Dan Gilroy Nightcrawler Why it's good: The upper-crust Los Angeles art scene gets a firm punch in the mouth from this smart, weird, funny, and occasionally rather scary combination of social satire, jet-black farce, and smartly constructed horror. The entire cast is great, but it's Gyllenhaal's colorful portrayal of a smug art critic that keeps the forward momentum going.
Release date: March 22 Cast: Lupita Nyong'o, Winston Duke, Elisabeth Moss Director: Jordan Peele Get Out Why it's good: What starts out like a potentially familiar "home invasion" thriller quickly evolves into a twisted, freaky mind-game in which impressively disturbing new ideas hide behind every other corner. Plus, while the entire cast is aces, Lupita is simply amazing.
Expect her to bring a nomination to the horror fiends early next year. Reminiscent of Guillermo del Toro's early films particularly The Devil's Backbone , a stone-cold masterpiece , this is a brilliant, dark fable that has something essential to say about real-world tragedy, but it does so in such a wonderfully honest, powerful, and endlessly creative fashion.
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You simply won't find a much better genre film this year. Where to watch it: Shudder later this year.
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He tweets scotteweinberg but ignores mean people. Share on Facebook Tweet this article Pin it Email. The gothic horrors of 'Hagazussa' Universal Pictures. Share on Facebook Pin it. Thriller Release date: April 14 Cast: Jason Woods, Jessica Allain, Mykelti Williamson Director: Dallas Jackson Why it's good: If you have an affection for the classic slasher flicks of years past particularly the Canadian favorite Prom Night , here's a low-key but enjoyable homage that's packed with all the tragic pranks, hooded killers, red herrings, and mostly deserving victims you'd expect.
The Head Hunter Release date: April 5 Cast: Christopher Rygh, Cora Kaufman Director: Jordan Downey ThanksKilling Why it's good: A lone warrior in an unnamed ancient land does battle with all sorts of monstrous foes, until one day he gets a chance to avenge the death of his only child. Velvet Buzzsaw Release date: January 31 Cast: Jake Gyllenhaal, Rene Russo, Toni Collette Director: Dan Gilroy Nightcrawler Why it's good: The upper-crust Los Angeles art scene gets a firm punch in the mouth from this smart, weird, funny, and occasionally rather scary combination of social satire, jet-black farce, and smartly constructed horror.
Us Release date: March 22 Cast: Lupita Nyong'o, Winston Duke, Elisabeth Moss Director: Jordan Peele Get Out Why it's good: What starts out like a potentially familiar "home invasion" thriller quickly evolves into a twisted, freaky mind-game in which impressively disturbing new ideas hide behind every other corner.
But Wan plays hauntings like a conductor plays an orchestra.
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When Wan turns to the humans menaced by this doll, he uses his lighting scheme to conceal faces, corners of rooms, and the doll itself. The interview setup offers no safety, because the first shot establishes that the doll is still sitting right there with them. Testing each, he finds they all lead to other cube-shaped rooms, all bathed in different colors.
He chooses one, seemingly at random, and, in the blink of an eye, tiny lines appear across his face. As the blood begins to trickle, his body separates into cubes of its own, slowly crumbling to the floor like a diced potato. Meanwhile, a now-bloody booby trap swings back into view, folding into the ceiling to await its next victim. The success lies in the timing of the reveals, as well as the unexpected incorporation of the mom, given that parents are usually the ones to show up and scream after the fact.
And the camera pulls back at the end to reveal the monster floating, above the door, in a great and chilling tease for the movie to come… if only it lived up to that prompt. But a tight budget primarily limited Day Of The Dead to one sparsely decorated underground bunker.
Chronological List of Horror Films
It begins with Dr. Sarah Bowman Lori Cardille imagining herself staring at a pretty picture in an otherwise featureless room, before a dozen writhing zombie arms burst through the wall. Then the doc wakes up on a helicopter heading to an abandoned Florida city, on a search for human survivors of the zombie apocalypse. A critical and commercial failure in its initial release, The Hitcher has earned a well-deserved cult following.
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In the indelible opening stretch, a young man C. Thomas Howell picks up an enigmatic hitchhiker Rutger Hauer on a rainy night in the middle of nowhere. Great horror can trick its audience into not being able to look away. When director Brian De Palma cuts to slow-motion locker-room voyeurism, the camera eventually finds Carrie again, her shower reverie broken as a close-up reveals, to her horror, blood making its way down her legs. No one pays much mind. Instead, the opening traffics in different, more relatable anxieties: social misery, loneliness, cruel mockery, and an empathetic fear for Carrie herself, who seems so unequipped to navigate this nasty world.
Gruesome by the standards of its time, Black Sunday was the movie that put Italian horror on the map: a lurid Gothic tale of cobweb-filled crypts, fog-shrouded cemeteries, and devil-worshipping Moldavian vampire-sorcerers. The much-imitated opening, in which a 17th-century witch Barbara Steele curses her executioners, still disturbs. Them , a film in which probably 90 percent of the dialogue happens in the first 10 minutes, uses its opening sequence to demonstrate the power of staying in the moment with a character, rather than wandering ahead.
When the taunts begin, the hook has already been set—with a last scare that still surprises.
100 - Max Schreck
Their longer take on the story is sluggish in its final hour until the excruciatingly tense finale, that is , but act one has been honed into a devastatingly effective weapon. But for a few harrowing minutes, the man behind Batman V Superman really did look like a master of horror in the making. The horror then goes from micro to macro as our traumatized heroine steps out into blinding daylight to discover that her entire neighborhood—and by extension, the entire planet—has gone straight to hell.
But its opening onslaught of terror stands alone, promising a better movie and career than the one that followed. Director Joseph Ruben, working from a screenplay by Donald E. But that just makes it all the more unnerving to watch Henry methodically alter his appearance: trimming his shaggy hair, shaving his beard, and even disguising the color of his eyes via contact lenses. From this first scene, It Follows teaches its audience to fear the frame. All five Final Destination movies begin the same way: Some hunk or babe experiences a premonition of mass doom a plane crash, a malfunctioning roller coaster, a bloodbath at the race track , which they and a few others are then able to narrowly sidestep, incurring the score-settling wrath of death itself.
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Every one of these opening set pieces is a gory delight, but the best of the bunch is probably the multi-car pileup of the first sequel. The late David R. Ellis masterfully ratchets up suspense, cutting from one driver to another on a crowded, slippery stretch of highway, before orchestrating a spectacular panorama of vehicular mayhem. Like the Final Destination franchise on a whole, this disaster movie in miniature plays on a collective fear of senseless demise, building a diabolical Rube Goldberg device from of our anxiety about freak accidents. Bonus points for doubling the carnage, as these movies always do, by chasing the vision of impending catastrophe with the actual one that follows.