Top 2. 0 Best Horror Movies Of 2. Let’s take a look at the best horror movies of 2. The scary list features the usual mix of sequels (. Although oddly there hasn’t been a single prominent remake this year. It has been a good one for indies. Open Grave. Starring: Sharlto Copley, Joseph Morgan, Thomas Kretschmann. Director: Gonzalo L. Fleeing the scene, he breaks into a nearby house and is met at gunpoint by a group of strangers all suffering from the same memory loss. The group tries to piece together clues about their identities, but when they encounter a deadly threat they’ll have to figure out the whole picture before it’s too late.
Horror movies have been a popular genre since the beginning of the film. The Exorcist is regularly named one of the scariest and best horror movies of all time. Justine Smith reveals her picks for the 20 best French horror films ever in honor of. Movie Mezzanine is an online. The 30 Best Horror Movies. It does a good job of creating mystery by posing intriguing questions, the first 4. But as the characters are there only to serve the mystery plotting they come off flat and lifeless. When you don’t know who anyone is until virtually the last five minutes, it’s hard to care too much about their fates. As Above, So Below. The 50 Scariest Horror Movies Ever. Scariest Movies Ever Made, Pt.Starring: Ben Feldman, Perdita Weeks, Edwin Hodge, Josh Kervarec. Director: John Erick Dowdle. Released: August 1. Miles of twisting catacombs lie beneath the streets of Paris. When a team of explorers venture into the uncharted maze of bones they uncover the deadly secret of the city of the dead. Descending into madness and terror they will be forced confront their sins head on or be extinguished. From the writer and director of the not- great . For those who like their scary movies brutally violent. These are my top ten scariest movies! Horror Movies That Will Blow Everyone Away In 2017. The director took a step up with the underrated . Here they are back to found- footage and fighting to avoid the cliches that go with it. Lifting heavily from . Your enjoyment probably depends on whether . But their dream Outback adventure becomes a nightmare when they encounter the site’s most infamous local, Mick Taylor (imagine a murderous Mick Dundee). As they flee, he pursues them on an epic, white knuckled rampage across hostile wasteland, and at least one will be dragged back to his lair to witness the true magnitude of his monstrosity. To survive, they must become as ruthless as him. The writer/director of the first . The 2. 00. 5 original was creepy and disturbing but also a sadistic and depressing movie that dwelt on torture. This shifts focus more toward black humour and suspense- action with a second half that’s part road- chase thriller ala . However it remains sadistic, with the German backpacker sequence in particular exhibiting a very disturbed psyche. The final scene is implausible and unsatisfying too. Still the movie’s neatly crafted, nicely acted and a well- paced gory ride. Worth seeing – if you enjoyed the first. Sins. Starring: Mark Webber, Ron Perlman, Rutina Wesley, Pruitt Taylor Vince. Director: Daniel Stamm. Released: April 1. A meek social services coordinator who’s drowning in debt and about to marry his love receives a call informing him that he’s on a hidden camera game show where he will receive $6 million for completing 1. After he agrees, for task one/two, to kill and eat the fly that is bothering him, thousands of dollars appear in his bank account. From there is he led through progressively challenging, degrading, and dangerous stunts by the mysterious caller, to a devastating point of no return. From the director of . It’s a surprisingly entertaining film that continues to throw satisfying plot twists and interesting scenarios into the mix as it esculates. Watching the protagonist grow in confidence is fun. It has a very similar premise to this year’s equally good but smaller- scale . The sister seems healthy and the inhabitants they interview speak of the commune utopia in glowing terms. However they gradually discover there is a sinister edge to the cult that belies the seemingly peaceful setting. The slow- build- up opening hour features great writing, performances and direction, with effective use of the . Things turn deadly a bit too abruptly, and while those events are intense, their horror should have been pushed even further – the real life story was far more grand- scale and shocking (1. Watching this unofficial adaptation could have left audiences mentally scarred, but instead it’s simply a solid, cleverly- made horror- thriller with a (cinematically) original premise. Stage Fright. Starring: Allie Mac. Donald, Douglas Smith, Minnie Driver, Meat Loaf. Director: Jerome Sable. Released: May 9, 2. Musical whodunit 8. Starry- eyed teenager Camilla wants to follow in her mother’s footsteps and become a Broadway diva, but she’s stuck working in the kitchen of a snobby performing arts camp. Determined to change her destiny, she sneaks in to audition for the summer showcase and lands the lead role in the play, but just as rehearsals gets underway, the bodies start to drop. A masked killer who despises musical theater is on the prowl (complete with screaming heavy metal voice, and occasionally electric guitar). It’s actually very funny and if you love slasher films, and understand going in that all the deaths will be tongue in cheek, you’ll have a great time. Horror Movies 2. 01. Place) > Horror Movies 2. Pages: 1 2. 34. 5. Top 1. 0 horror movies . Classics of the genre were produced in cinema's very earliest days . Roger Corman's movies would demonstrate the sheer trashy power of horror, and Hitchcock tapped into this B- picture aesthetic with his own low- budget masterpiece, Psycho, which popularised the psychological horror film, taking the genre away from its supernatural roots . Horror demonstrates the Guignol potential of cinema and the brutal way it can toy with the viewer. Peeping Tom film still. Fifty years ago, Michael Powell was the darling of British cinema, thanks to the movies he directed with Emeric Pressburger, including A Matter of Life and Death, and The Red Shoes. And then he made Peeping Tom. The film has since been reappraised, but in 1. The Observer's CA Lejeune wrote: . Chillingly, it entails filming women with a camera that has a spike concealed in the leg of the tripod, and a mirror in which the victims are forced to watch their own contorted faces as they are stabbed to death. Afterwards, Mark obsessively reviews the film. His voyeurism hinges on the need to see the fear on the women's faces as they realise they're about to die. The film still shocks today, so it's easy to see why people were so deeply upset at the time. One of Mark's victims is played by Moira Shearer, the much- loved star of The Red Shoes. The upset was compounded by Powell's own presence in the film. It turns out that Mark's pathology is related to his dominating father, a psychologist who subjected his son to experiments in fear from an early age. In the home movies documenting these terrifying experiments, Powell himself plays the father, while the young Mark is played by Powell's . Not just the audience transfixed by images of other people's lives, but also the director who orchestrates the action from behind the camera. There is some irony in the fact that his critique of cinematic voyeurism is now regarded as a horror classic. Killian Fox Vampyr Photograph: Ronald Grant Archive. Sound was added during production, but the film's trance- like images could stand on their own as a visual poem in which the action seems to take place on the cusp of dreams and reality. Apart from German actress Sybille Schmitz, who plays the vampire's chief victim, and French actor Maurice Schutz, who plays her father, the cast was non- professional. Baron Nicolas de Gunzberg, who provided finance for the film, also took the leading role under the pseudonym Julian West. He plays a roving occult investigator called Allan Grey (David in some versions) who arrives at an old inn by the side of a river and explores a nearby castle where an evil doctor appears to be helping a vampire prey on the lord's two daughters . Grey reads a book on vampirism and acts as our surrogate in this curious realm of crooked staircases, off- kilter corridors and Freudian keys and doors, a world where men's shadows take on a life of their own and skeletal hands grasp bottles of poison. Dreyer shrugs off conventional linear narrative and takes an experimental approach, plunging us into a waking nightmare that isn't so much black- and- white as it is misty grey. When cinematographer Rudolph Mat. It's hard to spot where nightmares end and reality begins. This really is a film that exemplifies the idea of dreaming with our eyes open. Anne Billson Lina Leandersson in Let the Right One In. Photograph: c. Magnolia/Everett/Rex Feature/c. Magnolia/Everett / Rex Feature. The snow whirls, the nights draw in and a gloomy Swedish housing estate becomes a pocket murderess's hunting ground. Let the Right One In is based on a book by John Ajvide Lindqvist and directed by Tomas Alfredson. Here is a vampire story born out of the shadows; a film of whispered secrets. But don't lean too close: it may well pull out your throat. Oskar (K. Eli has recently moved into the estate with a man who may possibly be her father, or a paedophile (as he was in the novel), or a lover who has grown old while she remains young. She needs constant feeding and her blundering, alcoholic neighbours provide easy pickings. Yet it would be too easy to file Let the Right One In as a tale of a hunter and her prey, or of light and dark, good and evil. Most of its inhabitants are victims of one stripe or another. They are the marginalised and the dispossessed, living their lives below the parapet and sustaining themselves with blood and alcohol. And while these people may, at times, be able to help each other, and even love each other, the transaction comes with a terrible price. Eli helps Oskar confront the bullies and so Oskar helps Eli when she is left abandoned in her decaying apartment. But the film's finale does not quite offer the happy resolution we've been wishing for. We are left wondering just where these characters go from here. On its release in 2. Let the Right One In (which has since been subjected to an American remake) found itself billed as the antidote to the Twilight pictures, a movie that brought a little mystery and magic back to the hoary old bloodsucker yarn. Perhaps it gave it some red meat as well. The Twilight kids would presumably never be caught scaling the walls of a hospital to feast on a patient, or snuffling spilt blood from a dirty stone floor, as Eli does. Alfredson's heroine is sensitive and sympathetic. But we are never allowed to forget that she is also a stone- cold killer; the embodiment of the old adage about the snake that winds up biting the cowboy who gives it shelter: . I'm guessing he has yet to see Let the Right One In. Alfredson's film is by turns tender and terrifying, funny and sad. And yes, OK, it is also a romance, albeit of the richest, strangest, most provocative kind. Think of it as a boy- meets- girl love story in which the girl may not be a girl at all, and where the boy knows this . Xan Brooks Max Schreck, Nosferatu (1. Photograph: Ronald Grant Archive. Sex and death, those two great mainstays of the horror genre, have rarely been as poetically evoked as in FW Murnau's silent masterpiece. If Nosferatu wasn't quite the first vampire movie, it was the first adaptation of Dracula, albeit an unofficial one; Bram Stoker's estate sued the producers and all copies of the film were ordered to be destroyed. Fortunately for the history of cinema it was an order that could not be enforced in Germany. The film follows the story of Dracula closely, though names have been changed. The Dracula character, Graf Orlok, was played by Max Schreck as a hideous walking corpse with a bald head, pointy teeth and long fingernails; Jonathan Harker becomes Thomas Hutter, Mina Harker is Ellen, Renfield is Knock and Van Helsing becomes Professor Bulwer. As Hutter travels to Carpathia to meet Orlok for the first time, his crossing of the boundary between the real world and the nightmare one is marked by the famous inter- title, so beloved of Andr. Orlok, like so many monsters before and since, is finally undone by his all- too- human desire. AB Linda Blair and Max von Sydow in The Exorcist Photograph: Allstar/Cinetext Collection/Sportsphoto/Allstar/Cinetext Collection. One of the few examples of a prestige horror film, it was something of a surprise when director William Friedkin . Friedkin, though, managed to attract heavy- duty actors like Jason Miller, Ellen Burstyn and Max von Sydow for his cast. The film had already been rejected by several directors . Friedkin in command made this a major film from major talents given a major release by a major studio. Tales abound of the director's unorthodox approach, from his randomly firing a gun to scare his actors, to physically slapping them to elicit reactions, and even his refrigerating the set to get them uncomfortable and to get their breath visible as vapour. Whatever possessed him certainly worked: there's a bleak mood that pervades almost every frame. Like any great horror film it was almost a rite of passage to see it. What also made The Exorcist so different to usual horror was that it placed the horror smack dab in the home, in the family, in an innocent child (played by Linda Blair who never really seemed to escape from this film's shadow). One other person key to the film's success is legendary makeup artist Dick Smith. Smith (assisted by a very young and talented protege, Rick Baker) not only created the subtle (at first) possession prosthetics for Blair but also convincingly aged von Sydow's Father Merrin (the actor was barely into his 4. The film went on to be the biggest grossing of all time, until Jaws knocked it off the top spot a year or so later. Phelim O'Neill 'Lloyd, how the hell are you?' .. Jack Nicholson and Joe Turkel in The Shining. Photograph: Sportsphoto/Allstar/Cinetext/Warner Bros. Stanley Kubrick's hotly awaited adaptation of Stephen King's bestselling ghost story was considered a letdown on its release, particularly by the novel's fans, who were outraged by changes to the plot (Kubrick kills off a character who survived in the book) and disappointed that, owing to the limitations of the special effects of the era, the hedge animals that came to life in the original story were replaced by a maze. But the film has gained in stature over the years; its tracking shots of Danny riding his tricycle along the hotel's corridors made it among the first productions to exploit the potential of the Steadicam, while many set- pieces and lines of dialogue (. And the discordant, modernist soundtrack (Penderecki, Ligeti, Bart. His character, Jack Torrance, is a would- be writer who gets a caretaking job in the Overlook, an isolated Colorado hotel with an unpleasant history. His sarcastic resentment of his wife Wendy (Shelley Duvall) and psychic son (Danny Lloyd) propel his inexorable slide back into alcoholism, which transforms that resentment into a murderous rage, arguably even more terrifying than the rivers of blood, the . AB Edward Woodward in one of his best- known roles as a police officer out of his depth among pagans on a remote Scottish island in the cult film The Wicker Man.
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