New Horror Movies Ready for the next installment of scary thrillers? Find out which movies are coming soon to a theater near you. Here you can browse upcoming horror. Top 20 Best Thriller Movies 2011. I’ve read the first book but heard the movie was average. Also the lead actress in the movie looks way to old to play the. Best horror movies of 2015 list sorted by the best ratings. This movies list includes Krampus. Shaun has seen hundreds of horror movies, these are his 13 favorite horror films from 2013. Top 13 Greatest Serial Killer Movies - Horror Movie & Film Lists - HorrorNews.net. Best Netflix horror movies. Pontypool (2008) What if a virus could spread through words? Get caught in a verbal loop, or hear the wrong thing and madness. Fifty lesser-known horror flicks hailed by critics and genre fans as "absolute must-sees" are given the spotlight with fun, engaging commentary from journalists. Horror is a genre of fiction which is intended to, or has the capacity to frighten, scare, disgust, or startle their readers or viewers by inducing feelings of horror. Sex and violence are inextricably intertwined in horror movies; it’s only a slight exaggeration to say that in most slasher films, being disemboweled by a hockey. Horror Movies Coming Out In 2017: Complete List And Trailers For Scary Films Releasing This Year. Must See Horror Movies from 2. Happy New Year everyone! With the end of 2. It is the age old tradition to compartmentalize a years worth of media into an easy to read checklist. In some cases writers attempt to be unique. Their lists can include best of, worst of, best theatrical experiences, most hyped, best of Netflix, or worst films based on personal experiences that created a bias toward the films in question. I’ve decided to create my very subjective list in a straight forward manner. The following films all saw their wider release in 2. This means they were made available for mass consumption, whether it be in theaters, VOD, DVD/BLU, or Netflix/Hulu. For a few films that made the list, my partner- in- crime and I saw them during their festival run in 2. This being said, though I loved The Sacrament, it is not eligible for the 2. So without further ado, here is my top 1. Feel free to hate it in the comments section. Bloody Acres (Cameron and Colin Cairnes)This Aussie horror comedy delivers equal doses of gallows humor and bloody special effects. In the fertilizer biz it’s all about your brand’s special ingredient. The Morgan brothers have found an ingredient to die for. Bloody Acres is 2. Tucker And Dale Vs. Contracted (Eric England)View my full review here. Eric England’s Cronenbergian take on sexually transmitted diseases even had the seventy year old couple behind us laughing at the utterly horrific on screen transformation. Among Friends (Danielle Harris)Danielle Harris’ (Halloween IV, V and Rob Zombie’s Halloween I, II) directorial debut showcases the beauty of a relatively new sub- genre taking shape – the dinner party comeuppance film. In Among Friends we get Next Wave regular AJ Bowen in another great performance and cameos by Kane Hodder and Xavior Gens (Frontier(s)). Also, don’t miss the hallucination sequence where Harris cameos in her Halloween IV costume. Would You Rather (David Guy Levy)Another dinner party film. Horror legend Jeffrey Combs plays a sadistic high society figure who invites desperate individuals to his home to compete in a series of “would you rather” games. Each round, the game gets bloodier and more satisfying. The film asks the age old question of how far you are willing to go to find a bone marrow donor for your brother dying of leukemia? Sasha Grey fits her role like a glove. American Mary (The Soska Sisters)The Soska Sisters first film, Dead Hooker In A Trunk (2. American Mary solidifies their presence in modern horror. Katharine Isabelle of Ginger Snaps fame trades the traditional route of a surgeon for that of a bod mod goddess. The modifications you see are all done through practical effects and they are a feat to behold especially since the film was shot in only fifteen days. V/H/S 2 (Various)Some claim this sequel is better than the first, but I believe they are equally perfect. Simon Barrett’s wrap around narrative – Tape 4. Adam Wingard’s “Phase 1 Clinical Trials” is absolutely horrifying. The ability to view another plane of existence whether it be ghosts or alternate dimensions is not just a plot device but a frightening philosophical concept that evokes the writings of H. P. Lovecraft. From one of the directors of The Blair Witch Project, Eduardo Sanchez, we get “A Ride In The Park” which creatively shows through POV the lifespan of a zombie. No other film has made me want a Go. Pro camera so badly. Then we get to Timo Tjahjanto and Gareth Evans homerun “Safe Haven.” Had this been a feature film, it may have crept into a top five spot on this list, maybe even number 2. Finally we get Hobo With A Shotgun director Jason Eisener’s “Slumber Party Alien Abduction,” which has all the likable elements of a Steven Spielberg film without all the elements that we hate. The kids in peril here have no happy ending, and rightly so within the confines of VHS 2. ABC’s Of Death (Various)2. There is nothing but pure beauty here. Even if a few shorts don’t completely hit their mark, most do. Here’s a grocery list of its perfect ingredients: Angela Bettis (Roman), Helene Cattet and Bruno Forzani (Amer), Jason Eisener (Hobo With A Shotgun), Xavier Gens (Frontier(s)), Timo Tjahjanto (VHS 2, Macabre), Ti West (House Of The Devil), Adam Wingard (You’re Next), Srdjan Spasojevic (Serbian Film), Simon Barrett (You’re Next), and among the producers is Tim League. I’m very excited for the sequel. All The Boys Love Mandy Lane (Jonathan Levine). This year gave us two delayed films, but the two years of waiting for You’re Next is nothing compared to the seven long years we’ve waited for Jonathan Levine’s first feature. He’s gone on to do The Wackness and 5. Warm Bodies did so well that some suits realized they could make money off of Mandy Lane. We all thought that when Amber Heard became a star that they would release it then, but unfortunately it sat collecting dust. It couldn’t have been an MPAA problem, because while the film does give us blood soaked scenes, there is nothing too excessive. We get a nice, clean- cut, post- modern Slasher during the era of Torture- Porn. The film is not a self- reflexive Scream knockoff, it is a loving tribute to the 8. Slasher craze while being wholly original. Stoker (Chan- Wook Park)When I first heard about Stoker, I thought about Alexandre Aja’s transition from French Extremist to American remake connoisseur. Granted, Park has firmly established himself as a taboo breaking visual artist. I still feared that a Hollywood backed film would be his ruin. I was wrong, completely wrong, in my assumption. Taboos are broken and each scene is meticulously detailed in an eerie beauty. Mia Wasikowska gives a complex performance. While, Nicole Kidman steps away from her normal center stage to let Mia shine, her stoicism and naivete are impressive. Stoker fits perfectly in Park’s filmography. Maniac (Franck Khalfoun)Speaking of Alexandre Aja and remakes, Maniac is a great example of what a remake should be. Produced/written by Aja and directed by P2’s Franck Khalfoun, Maniac takes the sweating and sleazy blob of Joe Spinell’s performance and chisels him into the good mannered Elijah Wood. While William Lustig’s original focused on Frank’s psychology, the remake takes this even further in one of the most technically challenging and unsettling choices ever made in horror cinema. The film is told only through the POV of its killer, you are seeing the world through a Maniac’s perception. Also, a big thank you for including Q Lazzarus’ Goodbye Horses – I can never get enough of that song. The Battery (Jeremy Gardner)Jeremy Gardner is a remarkable director. Every frame of The Battery is saturated in love. All the pieces of the story fit perfectly together: A buddy road movie, an existential drama, a loss of innocence theme, and a zombie plague. With a budget of $6,0. The Battery shows us exactly how independent horror is made. A special thank you for introducing me to not only Rock Plaza Central, but also Wise Blood. The Conjuring (James Wan)Even though The Conjuring was this year’s most hyped horror films, it was also one of the scariest. When they changed the rating from PG- 1. R due to overall tone, I thought back to Poltergeist. Poltergeist still holds a parental guidance for 1. There has been a lot of conversation over The Conjuring using “Based On A True Story” in their ad campaigns. We will never truly know what the Warrens saw or what the Perrons went through in that house, and that’s okay because we get to be entertained for an hour and a half. As a film, James Wan delivers the unknown world of the supernatural through a less- is- more approach that works on all levels to create fear in the heart of his viewers. You’re Next (Adam Wingard)Adam Wingard and Simon Barrett, along with the Next Wave troupe (Joe Swanberg, Ti West, AJ Bowen, Kate Lyn Sheil, Larry Fessenden, Amy Seimetz, LC Holt, and Lane Hughes) have created the best film of 2. If you want an unparalleled home- invasion film look no further. You’re Next gives us the destruction of the family dynamic, a survivalist film, a dark comedy, feminism, Dwight Twilley, scary metaphor- ridden masks, and delivers on the bloody/innovative kills. Nothing this year really comes close to the intense joy I had while watching You’re Next.“. The following are honorable mentions in no particular order. Evil Dead : While I love the practical gore effects, the essence of the original was gone. I liked that it wasn’t a direct copy of the original, but it felt as though they relied heavily on exposition. Byzantinum : Neil Jordan reinvents the vampire mythos again with this film. He has constructed a near perfect fable and the performances were spot- on. This will stay in my rotation of films to re- watch for years to come. Grabbers : A wonderful horror- comedy that gives a reason to why the characters make stupid decisions – they have to be really drunk in order to survive. The Upper Footage : Justin Cole’s film stands out as one of the best found- footage films of the year. The controversy surrounding his project and his unwavering nihilistic vision of the 1% make The Upper Footage a delightfully difficult film to sit through. Here Comes The Devil : Adrian Garcia Bogliano’s homage to Peter Weir’s Picnic At Hanging Rock delivers powerful imagery within a highly sexualized possession film. While it deserves placement on the list, I just saw it too late in the game. Warm Bodies : While Jonathan Levine’s horror follow up to All The Boys? Only one: The Dirties. This original concept uses parody and film references to make very real statements about bullying and mental illness. Escape From Tomorrow : This is not only an exercise in gorilla filmmaking, but also a beautifully surreal commentary on family dynamic and failure. I had watched The Shining prior to seeing Escape and felt a lot of connections between the two. Father, failure in obtaining the American dream, becoming one with the history of a location: all Jack Torrance material. Curse Of Chucky : We’re all just really excited to see Chucky as a doll to fear again. Asian- Horror- Movies. The 2. 5 best horror movies since 2. Club. Ask horror- movie buffs to name their favorite decade for the genre, and you’ll likely receive a variety of answers. The ’3. 0s had several of Universal’s classic roster of monsters. The ’4. 0s had Val Lewton. The ’7. 0s had zombies, and giant sharks, and Texas chain saw massacres. Classics take time to solidify, reputations take a minute to build, and hindsight is 2. Plus, you know, Uwe Boll. But looking over the 2. United States sometime before today and after January 1, 2. Perhaps more than any other genre, horror operates as a mirror of our anxieties—a warped reflection of everything that’s eating away at us as a culture or keeping us all up at night. And there’s been plenty to lose sleep over these past 1. SARS. The list below could easily double as a guide to the fears and phobias of modern life. Its eclecticism is a testament to just how many different ways we’ve been freaked out since Y2. K. Sixteen contributors submitted ranked ballots of their favorite horror movies released in the United States since the year 2. These are not the scariest films of our new millennium, but simply the greatest that happen to occupy the horror genre. As such, we tried to be fairly strict with the definition; films that feel like horror but wouldn’t necessarily be classified as such by IMDB or Netflix—like David Lynch’s two post- 2. Pan’s Labyrinth, or Requiem For A Dream—were excluded. What would your ballot look like? Did we miss anything crucial? Sound off in the comments below. There are those who find Pascal Laugier’s Martyrs to be one of the most unsettling and provocative horror films ever made, and then there are those who haven’t seen it yet. But unlike other extreme horror that relies on shock value and repugnance for its notoriety (A Serbian Film, Human Centipede II), Martyrs isn’t particularly grisly, nor does it wallow in depravity for exploitative button- pushing. The film is almost two movies in one. Depicting a fragile young woman’s efforts to support her friend, who seeks revenge for her abuse as a child, the first half is horror at its simplest and most frightening. But a late and unexpected turn in the story pushes things into utterly new territory, at which point the film becomes horrifying for wholly different reasons. It’s difficult, transcendent, riveting, and never anything but nerve- shredding. And the ending is one for the ages. The genre can be very regressive in its gender politics, if not grotesque and loathsome in its sexism, but the sly Canadian horror- comedy Ginger Snaps cleverly subverts that tradition by positing lycanthropy as an allegory for a girl’s sexual and physical maturation. The film is empowering in its depiction of a world where female sexuality is a potent, violent, and righteous force. And the film inspired a slew of feminist- leaning horror films that addressed gender forthrightly and smartly, including a memorable segment in the horror anthology Trick ’R Treat. The masked assailants trying to gain entry into the vacation home of an unhappy couple (Scott Speedman and Liv Tyler) aren’t particularly memorable; the film’s bare- bones narrative insists upon that anonymity. No, what makes Bryan Bertino’s film seethe with nail- biting tension is the masterful use of space and silence. The home becomes a sieve, a place where a threatening presence can intrude upon the frame from any angle. There are no fancy camera tricks or complicated plot twists, just a slowly building sense of dreadful inevitability. Always hanging back, Bertino lets his two leads stand exposed, the large open spaces behind them always promising to release more terrors. It’s a perfect rejoinder to those who value originality over everything. Going back to basics can reap petrifying rewards, too. Nicole Kidman gives one of her best performances as a widowed mother named Grace, who lives with her two sickly children in an elegant European country house in the mid- 1. WWII. The arrival of eccentric new servants coincides with the family’s increased awareness of some kind of inexplicable presence in the manor, which Grace tries her best to ignore until she’s eventually forced by circumstance to investigate. Writer- director Alejandro Amenabar teases out the mystery and uses old- fashioned effects to give viewers the creeps; but his best asset is Kidman, whose dawning awareness of what’s happening around her helps turn The Others into a poetic portrait of soul- sick grief. Although most of the U. K.’s monsters have now starved to (re)death, and despite the fact that part of London has been successfully turned into a militarized safe zone overseen by the U. S., no one is secure in this horror show. That’s apparent from the film’s masterful intro, wherein a terrified husband (Robert Carlyle) is forced to flee his rural enclave—and abandon his loved ones in order to save himself—and continues once the action shifts to those living under American armed- forces protection, which falters after another undead outbreak. Frantic blasts of cannibalistic action set to squealing guitars generate adrenalized terror, though more chilling still is the overarching allegorical portrait of a United States failing to maintain control over a rabid, rampaging horde of infected- by- madness enemies. May (Angela Bettis) navigates her lonely world with her mother’s voice in her head—“If you can’t find a friend, make one”—assuring her that ending her isolation is simply a matter of will. But finding a friend is easier said than done for a mousy, awkward woman with a misaligned eye, an obsession with antique dolls, and too much enthusiasm for the bloodier aspects of her veterinary gig. By the time May takes her quest for human connection to gory extremes, writer- director Lucky Mc. Kee has already laid a sound foundation of empathy. May is a slasher flick with an inverted perspective, as if Friday The 1. Wolf Creek comes alarmingly close. Greg Mc. Lean’s pitiless Aussie shocker sends a trio of attractive, uncommonly likable twentysomethings into the outer reaches of the Outback, where they’re set upon by a smiling psychopath in a Crocodile Dundee hat. One of a small handful of films to ever earn a straight “F” from Cinema. Score voters, Wolf Creek has proven just a little too sadistic for plenty of viewers. But there’s an unlikely elegance to its construction, Mc. Lean engendering affection for his sacrificial lambs in the long, tension- building hour before they’re led to the slaughter. Unfairly lumped in with the likes of Saw and Hostel, this backwoods gauntlet owes its nightmarish power not just to the “charms” of its cackling human monster (John Jarratt), but also to the unforgiving sprawl of the Australian wilderness. This is the second of three contract killings that form the black heart of British director Ben Wheatley’s one- of- a- kind feature, so of course there’s no shortage of blood here. But this chimera of a film—part naturalistic marital scream- fest, part on- assignment buddy movie, and, most important for our purposes here, part sticks- and- stones conclave in the Wicker Man mode—is most remarkable for its atmosphere of slow- building menace. Paring down the exposition, Wheatley keeps the audience aligned with his in- the- dark hired guns, though every dread- filled frame cries that something’s amiss. Lo and behold, it emerges that what they’ve taken on is, almost literally, the job from hell. In some respects, The Host is Bong’s version of a Godzilla movie; in particular, it boasts a similar origin story, with the monster accidentally created by an American military advisor who cuts corners by pouring 2. In lieu of the lumbering beasts familiar from Japanese monster movies, however, Bong and his effects team fashioned a slimy, fast- moving fish with legs, able to wreak havoc on a smaller, more thrilling scale. And yet it’s arguably the least of the hero’s problems, given the outrageous institutional negligence and incompetence on display throughout the movie. Come for the virtuosic mayhem, stay for the bitter political commentary. Here was an emerging auteur seemingly turning from a serene arthouse aesthetic to make a blood- soaked tale of quasi- cannibals in Paris. Trouble, however, fits neatly into Denis’ preoccupations with examining the limits of human relations. She takes a honeymoon story and plunges it into depravity, uncannily capturing the beauty of dark corners. The film is at times appalling (an act of cuniligus turns carnivorous) but it’s no shock- and- awe ploy. The discomfort that lingers at the end doesn’t just stem from what’s seen on screen but from the all- too human question the film poses: What does it mean to be consumed by desire? Set in an orphanage during the Spanish Civil War, the story ostensibly revolves around a young boy’s attempts to uncover the mystery of the ghost of another child. But even without the specter of a drowned boy skulking the hallways, the whole movie is permeated with dread and the potential for violence. The orphanage is remote and isolated, appearing more as a mausoleum than a refuge. An arid wind blows through every scene, hinting at the inevitable arrival of the war. And despite the Catholic idols that dot the compound, none can overshadow the place’s true patron saint: a massive, diffused bomb that sits in the middle of the courtyard. Del Toro continued his wartime exploration of the tension between fantasy and reality in Pan’s Labyrinth. But the intimacy and fatalistic sadness of The Devil’s Backbone remains unique. The Cabin In The Woods lands closer to the Scream end of the spectrum in that it’s both of and about its genre. Director/co- writer Drew Goddard and co- writer Joss Whedon call out plenty of horror- movie tropes (threatened characters inexplicably splitting up; stereotypical teenagers; a creepy gas station attendant) without subjecting them to snide derision. The movie accumulates clich.
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Novembre 2017
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