Horror
Hey Lemmy, What are your favorite horror movies from Blumhouse? I went to Universal Studio's Halloween Horror Nights this year and they had the whole tram Blumhouse themed. I liked to watch horror movies during this spooky season, so i think catching up on some of these ones seems like a good place to start this year.
bleedingcool.com
cross-posted from: https://feddit.uk/post/17569810 > > IDW has decided to become more focused as a company on publishing horror comics in terms of what they dub their co-creator originals, titles to follow up on their history of success with the likes of 30 Days of Night, Locke & Key, Beneath The Trees Where Nobody Sees and more. > > > >Earlier this week, CEO and Publisher of IDW, Davidi Jonas took an investment call while in the car as as part of his duties of being a publically traded independent comic book publisher. He announced the switch in publishing focus for the publisher, and that IDW would be launching a new horror imprint soon and "partnering with one of the largest licensors to be able to exploit their largest horror titles" as comics, collections and graphic novels, and are "some very noteworthy and popular horror titles and having those as part of our imprint, we expect will attract interest." And then look to exploit their co-creator-owned properties as a result of increased interest. And he says that this is one of the things he has focused on, to go as far and wise as they can. > > > >You know, there is Vertigo-sized gap in the market since DC Comics let that go, which Boom, Vault, Scout and others have attempted to fill, including IDW as well. Might this be a worthwhile endeavour on IDW's part?
deadline.com
"French director Alexandre Aja has been known as a member of the horror helming fraternity called the “Splat Pack,” named for the extreme violence in their films. Certainly, many of his pictures, from the 2003 breakthrough Haute Tension and the 2006 remake of The Hills Have Eyes, to his exceptional, and most successful film to date, 2019’s Crawl — in which a family is trapped in the crawl space of their home as alligators surround them during a Category 5 hurricane in Florida (a personal favorite of Quentin Tarantino) — have proved his chops as a genre filmmaker. Now, he steps up to another level with a less gory and more psychological thriller style of film, Never Let Go, in which Halle Berry stars as a mother of twin boys who is traumatically haunted by her own lifelong demons, which she passes on to them in their remote house deep in the woods... ... At every turn Aja keeps us on the edge of our seats with an exceptional skill to create bone-chilling scares out of almost nothing. The emphasis here is not on piling up the bodies or following the usual tropes of the horror genre, or his own bloody cinematic past, but rather keeping it for the most part (yes, there are a couple of gross-outs) in the psychological realm. Fear is a very strong weapon. Clearly, Momma has issues and it is driving her family apart and diminishing the control she wields. Both Daggs and Jenkins are outstanding in their film debuts, as natural as kid actors can get, and they really have to carry this film throughout. Cinematography by Maxime Alexandre and editing by Elliot Greenberg really add to the lush remote look of this film set in the middle of nowhere. It all grabs you by the throat — the best horror film I have seen this year..."
lrmonline.com
"Horror fans are in for a treat as a sneak peek of the upcoming slasher thriller Last Straw. The film, set to hit select theaters and digital platforms on September 20, 2024, looks to be a night of heart-pounding suspense and terror. Produced by Shout! Studios, Last Straw is a rural, small-town horror that blends classic slasher thrills with a gripping, tension-filled narrative. Directed by Alan Scott Neal in his directorial debut, the film stars Jessica Belkin (American Horror Story: Hotel), Taylor Kowalski (Snowfall), and Jeremy Sisto (Thirteen, Clueless). The story centers around a young waitress working the overnight shift at a desolate roadside diner. When a group of masked assailants begins to terrorize her, the quiet night quickly turns into a brutal fight for survival. With no help in sight, she must outwit her attackers and fight back if she hopes to make it through the night alive..."
www.indiewire.com
"In Wes Craven’s “Scream” — not quite the definitive horror movie but certainly the definitive account of horror fandom — final girl Sidney famously responds to the question of whether she likes scary movies with a resounding no. “What’s the point? They’re all the same,” she says through the phone to the movie’s slasher. “Some stupid killer stalking some big-breasted girl who can’t act who is always running up the stairs when she should be running out the front door.” Her complaint acts as a clever joke about the stale state of the mainstream slasher genre that Craven was riffing on (and unintentionally revived) through his tongue-in-cheek meta spin. But it’s also a nod toward the less-than-flattering viewpoint that gatekeepers and non-horror aficionados have toward the genre, as a playground for cheap and easy B-movies and formulaic jump scares. In Wes Craven’s “Scream” — not quite the definitive horror movie but certainly the definitive account of horror fandom — final girl Sidney famously responds to the question of whether she likes scary movies with a resounding no. “What’s the point? They’re all the same,” she says through the phone to the movie’s slasher. “Some stupid killer stalking some big-breasted girl who can’t act who is always running up the stairs when she should be running out the front door.” Her complaint acts as a clever joke about the stale state of the mainstream slasher genre that Craven was riffing on (and unintentionally revived) through his tongue-in-cheek meta spin. But it’s also a nod toward the less-than-flattering viewpoint that gatekeepers and non-horror aficionados have toward the genre, as a playground for cheap and easy B-movies and formulaic jump scares. Related Stories 'Separated,' a documentary by Errol Morris Errol Morris’ Hard-Hitting Documentary ‘Separated’ Should Be Released Before the November Election HAPPY DEATH DAY, Jessica Rothe, 2017. ph: Patti Perret. ©Universal Studios/courtesy Everett Collection Blumhouse Brings Screams to Theaters with AMC’s BlumFest Anyone who dives into the history of horror will know that that’s certainly not the case. Rooted in silent cinema classics like “The Cabinet of Dr. Caligari” and “The Phantom Carriage,” the horror genre encompasses campy creature features, exploitative shock fests, cerebral psychological terror, vomit-inducing flesh-and-spine-bursting Cronenberg creations, mournful ghost stories, modern “elevated horror,” and a dozen other microcategories beyond films about a stalker with a knife and a grudge. And that’s not to discount the slasher films that offer something rivetingly new and original. What makes a horror film a part of the genre thus has relatively little to do with its actual content and everything to do with what it provokes within its audience. Making a truly scary movie — one that burrows into your mind and delivers a sense of unease that can’t be forgotten — is a task that requires much more skill behind the camera than it is often given credit for, and the best horror movies have a craft to them that stands up to any auteur project or Oscar Best Picture winner. It’s no surprise that the genre has such a passionate, devoted following of film geeks that regularly turn out for new releases — when a horror movie is great, there’s no experience quite like it. In building IndieWire’s new list of the greatest horror movies ever made, we opted to omit some films that straddle the nebulous line between the horror and thriller genres (so you won’t find “The Silence of the Lambs” here, to get a particularly major example out of the way), at least for now. We paid attention to films that paved the way for the genre and for filmmaking as a whole, as well as to modern classics that bring something new and brilliant to the canon today. What every film on this list has in common is that their horrors are more than just boogeymen and spirits projected upon a silver screen, but a conduit into which deeper real-life fears are made manifest. From social discontent to primal fear of the unknown, horror is a genre that reflects on humanity’s most potent paranoia, and the eternal darkness that rests within us. Read on for our list of the 75 greatest horror movies ever made..."
bloody-disgusting.com
cross-posted from: https://feddit.uk/post/17543209 > > One of the most hotly anticipated horror movies in the remainder of September is the action-horror movie Azrael starring Samara Weaving (Ready or Not, Scream VI), in theaters September 27. While you wait, IFC Films has debuted a first-look clip via Rotten Tomatoes. > > > > ... > > > > The high concept action-horror film from Republic Pictures stars Samara Weaving and was directed by E.L. Katz (Channel Zero, The Haunting of Bly Manor, Cheap Thrills) from an original script by Simon Barrett (The Guest, You’re Next, Godzilla x Kong). > > > >“In a world in which no one speaks, a devout female-led community hunts down a young woman (Weaving) who has escaped her imprisonment. Recaptured by its ruthless leaders, Azrael is to be sacrificed to pacify an ancient evil that resides deep within the surrounding wilderness – yet she will stop at nothing to ensure her own freedom and survival. > > > >“From the seeds of this gritty, relentless parable of sacrifice and salvation, comes an immersive, real-time, action horror tale.” > > [Clip](https://youtu.be/j8nRnrBIgk8)
www.inverse.com
"Few genres have evolved as drastically as horror. We’ve come a long way from the old-school, practical scares of creature features and haunting psychological slow burns, but there’s still plenty to learn from the B-movies of old. That’s especially true in an era that values IP above all; when it comes to finding the next franchise, no story is off-limits. Remakes and sequels are more prevalent than original ideas, and classics like William Castle’s House on Haunted Hill have joined a growing list of stories ripe for recycling. The 1950s film starred horror legend Vincent Price in one of his most famous roles, and has been remade before, with mixed results. Whether another addition to the franchise is necessary is, as always, a question worth asking, but the team behind a new adaptation might find a way to justify it..."
bloody-disgusting.com
"Netflix has a tendency to release international horror films with no fanfare and often without even a trailer to promote them, but have no fear because we’re always paying attention. On that note, the latest movie from Indonesian master of horror Joko Anwar (Satan’s Slaves, Impetigore, Nightmares & Daydreams), Grave Torture is now streaming on Netflix! In Joko Anwar’s Grave Torture, “When a violent act kills her parents, Sita vows to debunk the idea of supernatural torment after death — a fixation that leads her on a dark quest.” Here’s the full plot synopsis from the film’s Wikipedia page:- “After both of her parents became victims of suicide bombings, Sita became distrustful of religion. Since then, Sita’s goal in life has been only one: to find the most sinful person and when that person dies, Sita wants to go into his grave to prove that the torment of the grave does not exist and religion is not real. However, of course there are dire consequences for those who do not believe”..."
www.slashfilm.com
"This post contains spoilers for "Harper's Island." The horror anthology model is pretty commonplace in our current landscape, its core appeal lying in shifting tones and narrative motivations, along with a ton of variety to offer. Anthologies are not a brand-new phenomenon, as their enduring popularity can be traced back to shows like "Alfred Hitchcock Presents" or Rod Serling's "Twilight Zone" series, proving that even the earliest days of network television held space for such a format — on the condition that the show could sustain good ratings. When "Harper's Island" premiered on CBS in April 2009, it was marketed as a horror/slasher series that would go on to follow the anthology format in the second season, replete with new characters and a fresh setting. Unfortunately, these plans did not come to pass, as the 13-part limited event received dwindling ratings as the episodes progressed — with a season-wide average of 4.8 million — leading to its eventual cancellation..."
collider.com
"There is something so enjoyable about watching a horror movie from the 1970s. Many have become so beloved and memorable that it only takes words or even to mention a few key characters to recognize which one instantly. These horror flicks were trailblazers of their time, and many of them still are. But, no matter what, they're perfect from beginning to end. Some of the greatest, most rewatchable horror films ever are from the '70s. In a decade that saw the release of classics like Halloween, The Exorcist, and Jaws, is it any wonder why this decade is featured so often on many horror fans' lists of "favorite horror films of all time?" It was a fun era to be a horror fanatic, and it certainly had big hitters, many of whom are perfect right from the opening scene until it cuts to black. In honor of this thrilling decade for the horror genre, here are ten of the most perfect horror movies of the 1970s, ranking them on how compelling and entertaining they are all the way to the end..."
About 4 years ago, I watched a movie which I enjoyed but can't for the life of me find. It involved a white couple getting lost in deep rural Appalachia and getting taken in by a cult-like small family in the middle of nowhere. I don't remember the details very well since it was a few years ago and I watched it pretty late at night. I think it involved the woman being drawn in while the man wasn't, and there being murder (in a shed?), but that could be me mixing different movies up. Does anyone know what it might have been?
collider.com
cross-posted from: https://feddit.uk/post/17484663 > > The 2020s have already been great for folk horror, but the current folk horror revival really got its start in the previous decade. The niche subgenre, which had been around since the 1960s and 1970s, didn't get a name until actor Mark Gatiss of Sherlock fame used the term "folk horror" in 2010 to describe a trio of influential films in his BBC documentary series, A History of Horror. Suddenly, a generation of writers and filmmakers who had grown up on the old British films and television programs were inspired to revisit the rural terrors of their youth. > > > > Folk horror, which was initially recognized as a British phenomenon, became closely associated with imagery from the British Isles, such as stone circles, druids, and the green man. However, the modern folk horror revival has been more inclusive, as filmmakers from around the world draw inspiration from their countries' history and folklore. From Indonesia to Austria, these are the best folk horror movies of the 2010s. > > 1. Midsommar (2019) > 2. Kill List (2011) > 3. The Witch (2015) > 4. The Borderlands (2013) > 5. The Wailing (2016) > 6. The Ritual (2017) > 7. Impetigore (2019) > 8. La Llorona (2019) > 9. Hagazussa: A Heathen's Curse (2017) > 10. A Dark Song (2016) > > Warning: the image used dod The Ritual is a massive spoiler - go watch it first, it's worth going in blind. > > See also: > > * [10 best Folk Horror movies of the 2020s (so far)](https://feddit.uk/post/16878588)
www.joblo.com
"There used to be a very big difference when talking about independent horror and mainstream horror. The latter would often be much more tame, with a goal of maximizing the audience, therefore maximizing Box Office. Indie horror would often be darker, going for moments that would stick with you long after the credits roll. But as society has shifted into this different entertainment landscape, there’s more of a desire than ever for something wholly unique. Mostly in the sake of profit. Thinking outside of the box is rewarded as it’s all about grabbing attention. It’s why a film like Longlegs can come out and absolutely light the world on fire. Because filmmakers are being forced to take risks in an attempt to get people to the theaters. Audiences are tired of the same old, same old..."
www.firstshowing.net
"Dark Sky Pictures has revealed the official trailer for an indie horror film titled I Will Never Leave You Alone, the latest feature from the indie genre filmmaker DW Medoff. This premiered at the Telluride Horror Show and FrightFest and will be available to watch on VOD in October for horror season. After being released from prison, a brooding man with a dark past is forced to stay in a haunted house to clear it of any spirits. If he leaves early, he returns to prison, but the witch-ghost he encounters there may be more of a punishment than even he can withstand. Exploring themes of grief, depression and isolation, director DW Medoff says, "Writing and directing this helped me deal with mental health issues, that suffering can spiral out of control. I made a horror movie, but it is also a warning: please ask for help when you need it." This horror stars Ken Trujillo, Katerina Eichenberger, Emma Anne Wedemeyer, and Chris Genovese. This one looks extremely scary and disquieting - tread carefully folks. Here's the official trailer (+ poster) for DW Medoff's I Will Never Leave You Alone..."
www.joblo.com
"Putting a horror twist on popular children’s story characters who are in the public domain has become a popular trend these days. Multiple Mickey Mouse horror films are making their way out into the world since the earliest Mickey cartoons are now public domain, filmmakers are working on horror versions of Goldilocks, Sleeping Beauty, and Cinderella, and a whole cinematic universe is being built out of horror movies based on the likes of Winnie the Pooh, Bambi, Peter Pan, and others. Another project in this line-up of films designed to tarnish the reputation of childhood favorites is The 7 Dwarves, which puts a terrifying twist on the story of Snow White and is scheduled for release in March of 2025. Promising a spine-chilling ride that will leave viewers on the edge of their seats, The 7 Dwarves has the following synopsis: In The 7 Dwarves, Snow White narrowly escapes the clutches of the evil witch, only to find herself lost in the eerie depths of the dark forest. But her nightmare is far from over. She soon becomes the prey of a sadistic group of dwarves (Cranky, Jolly, Drowsy, Meek, Snuffy, Wheezy, Chief, and Ditzy). Far from being her protectors, these sadistic dwarves hunt her relentlessly, forcing Snow White to fight for survival. As she outwits and eliminates each dwarf one by one, the tension rises to a blood-soaked climax in this spine-chilling horror reimagining..."
www.thewrap.com
"You used to hear the refrain from horror film fanatics with a lot more frequency – the original was so much scarier. And while this is still true to some degree (the films of John Carpenter have been remade with an oddly uniform lousiness), there are still plenty of horror films that have been remade well. Sometimes the remakes are just as good as the original. In rare cases, it even surpasses the original. Here is our definitive list of the very best horror remakes ever..."
www.dreadcentral.com
"I realized something the other day as I slipped on my sweater before heading out for a decaffeinated pumpkin coffee with other basic witches: Netflix has a ton of children’s horror like The Curse Of Bridge Hollow and Monster House that scream fall. However, the pickings are slimmer for those who want a little blood and murder alongside our autumnal festivities. Sure, some movies feel like they belong in the only season that matters. His House gives me big late September vibes, and Before I Wake seems made to watch as you carve pumpkins. But are they really about the October hustle? Are they serving pie-scented candles that start fires, corn maze mayhem, or carving up exes? So, I took this thought experiment too far, as usual, and am back with a streaming guide for all of us basic *removed*. Here are eight horror movies on Netflix that scream fall..."
bloody-disgusting.com
"It’s Friday the 13th and you know what means: a bunch of new horror movies have been unleashed today to make us forget that it’s been 15 YEARS since we last saw Jason Voorhees. Here’s all the new horror that released Friday, September 13, 2024!"
deadline.com
"EXCLUSIVE: Cranked Up Films, the genre film offshoot of Good Deed Entertainment, is launching its own streaming service, Cranked Up TV. This fall, the SVOD service will debut with a catalog of horrors, including exclusive and original content and programming, interviews, behind-the-scenes footage and much more. Original film productions will include Nightmare Cinema, Extra Ordinary and the Fresh Hell trilogy among others... “We’re excited to offer alternatives to the existing streaming services by providing horror fans access to more exciting content. We look forward to growing our brand to horror enthusiasts and providing independent filmmakers a home for their content,” said Cranked Up Films CEO Scott Donley. Separately, Cranked Up Films is releasing the Fresh Hell films, which come from writer/director Quinn Armstrong, in select theaters and VOD. The Exorcism of Saint Patrick on August 30, Wolves Against the World on September 6 and Dead Teenagers on September 13. Cranked Up will begin production on its next slate of films at the end of the year, starting with The Chamber from writer/director Sergio Pinheiro. Indie film distributor Good Deed launched its production division last year, having relocated from LA to Ohio in 2019."
bloody-disgusting.com
"The long-awaited movie adaptation of Stephen King’s Salem’s Lot from director Gary Dauberman (Annabelle Comes Home) is coming exclusively to Max this Halloween season. Salem’s Lot premieres on Max on October 3, 2024. Watch the official trailer for Max’s Salem’s Lot below. Stephen King had recently tweeted praise for the film. He wrote earlier this year, “I’ve seen the new SALEM’S LOT and it’s quite good. Old-school horror filmmaking: slow build, big payoff. Not sure why WB is holding it back; not like it’s embarrassing, or anything.”
collider.com
cross-posted from: https://feddit.uk/post/17338767 > > There's a common consensus that horror movies aren't scary anymore, but that's not necessarily true. A lot of the time, many horror movies are either missed, fly under the radar or (thankfully) do end up getting the recognition they deserve. Whether they're acknowledged or not, there do happen to be many horror movies of the modern era that are incredibly scary and leave those who believe that modern horror movies aren't scary eating their words. > > > > Horror comes in many shapes and sizes. Sometimes a film has an abundance of horrific gore, is psychologically bending or just downright disturbing in its visuals and ideas. Regardless of how, a horror film has many ways to be terrifying and all styles and forms of doing so are still utilized today. The last five years of horror have been quite good, and it needs to be acknowledged. > > 1. When Evil Lurks (2023) > 2. Talk to Me (2023) > 3. Incantation (2022) > 4. Roh'/'Soul (2019) > 5. New Religion (2022) > 6. Smile (2022) > 7. The Sadness (2021) > 8. V/H/S/99 (2022) > 9. The Dark and the Wicked (2020) > 10. Good Boy (2022) edit: since posting they've expanded the list, presumably when someone pointed out some serious omissions: 11. Late Night With the Devil (2024) 12. Longlegs (2024) 13. Relic (2020)
www.forbes.com
"It’s about to be a good stretch of time for theatrical horror releases, as two of the best horror movies of the year are arriving. That would be Speak No Evil and The Substance, where reviews have now come in almost simultaneously, and these are now two of the best-reviewed horror movies of the year. Speak No Evil has an 88% score on Rotten Tomatoes while The Substance has a 92%. In the context of well scored horror releases in 2024, that means the overall list is: Late Night with the Devil – 97% Oddity – 96% Infested – 96% Strange Darling – 95% In Flames – 95% New Life – 94% The Substance 92% Stopmotion – 91% The Devil’s Bath 90% Speak No Evil – 88% So, both are in the top ten, though I would give the caveat that many of these are much smaller releases, and Speak No Evil boasts an A-lister like James McAvoy and The Substance has Demi Moore, Dennis Quaid and Margaret Qualley. In other words if you’re looking for “big” horror movies (not to say they’re better than the rest on this list), these are that. Other wide release horror films like Longlegs, A Quiet Place Day One and Trap did not review this well..." (Article includes trailers)
deadline.com
"Netflix on Tuesday debuted the first trailer for It’s What’s Inside, the buzzy horror thriller which the streamer swooped on at this year’s Sundance Film Festival. Marking an accomplished first feature for writer-director Greg Jardin, the film streaming globally on October 4 is an enticingly twisty tale, tonally reminiscent of Halina Reijn’s 2022 A24 horror comedy Bodies Bodies Bodies, the plot specifics of which I won’t spoil. Pic watches as a group of friends gather for a pre-wedding party that descends into an existential nightmare when an estranged friend arrives with a mysterious game that awakens long-hidden secrets, desires, and grudges. The ensemble picture stars Brittany O’Grady (The White Lotus), James Morosini (I Love My Dad), Gavin Leatherwood (Chilling Adventures of Sabrina), Nina Bloomgarden (The Idea of You), Alycia Debnam-Carey (Fear the Walking Dead), Reina Hardesty (Brockmire), Devon Terrell (Totally Completely Fine) and David Thompson (Panic). William Rosenfeld, Kate Andrews, Jason Baum and Raúl Domingo produced the film, with Oscar nominee Colman Domingo executive producing alongside Ulf Ek and Robert Kapp. Check out the trailer for It’s What’s Inside..."
bloody-disgusting.com
"When Friday the 13th was released in May 1980, its remarkable financial success poured gasoline on the flickering slasher-genre flames. Already burning solid thanks to The Texas Chain Saw Massacre and Halloween, these films became touch points for many filmmakers looking to break into the industry or simply stack a few coins. Everything from masks and machetes to final girls and fake-outs quickly became solidified as standard genre tropes. However, it was Friday the 13th that reframed summer camps as prime locations for slasher mayhem and popularized it with others looking to replicate the results. For those lucky enough to have attended a summer camp in their youth, the yearly pilgrimage offered a chance to disconnect from the outside world, forge new friendships, connect with nature and escape the day-to-day oversight from annoying parents. While the often secluded, remote locations foster this sense of escape, it also naturally prohibits one. Further exacerbated with limited automobile accessibility and adult supervision, everything that makes a summer camp the perfect setting for killer chaos is built into its DNA. With many actual summer camps in the 80s willing to rent out their facilities, its no wonder why so many filmmakers were quick to jump on the summer camp canoe..."
www.thewrap.com
"There is a pretty good chance that a film like “Else,” the fascinating feature debut from director Thibault Emin that’s an extension of his short of the same name, is going to fly under the radar for many. This is a real shame because those who see it will find that not only does this film grow on you, but it burrows inside your very skin. Remaining mostly confined to one apartment as the world falls apart due to an unknown epidemic that’s taking hold, “Else” is a film you watch in a combination of awe and horror. As we see in all its gruesome glory what this disease can do to us, the film takes a plunge into something hauntingly beautiful. It’s a movie about the forces that consume anything and everything to make them into something that is a part of a collective. The more it expands on this, the better it gets, sweeping you up in stunning visuals that swallow you whole. It’s also more metaphysical in nature, asking questions about the body, the self, where one begins and the other ends, as well as what happens when we let others into our life. It takes us into a world that is far bigger than us and often beyond easy understanding, creating arresting visuals that implant themselves in your mind..."
www.slashfilm.com
"Regardless of how many folks decry that there are too many remakes these days, the horror genre has been remaking the same films and stories since the era of silent film. Despite popular belief, a lot of horror movie remakes are pretty damn great, but an unfortunate truth is that when it comes to Americanized remakes of international works, the track record isn't quite as impressive. For every "The Ring" or "Funny Games," there are at least a dozen cash grabs that completely lose sight of what made the original film great. Oftentimes, it's because American sensibilities and the relationship with threats of danger just don't meld well with the story at hand. This is why when we see the various security cameras of various countries in "The Cabin in the Woods," the style of horror differs greatly from the horror shown in the American cabin. Which means "Eden Lake" and "Black Mirror" director James Watkins had his work cut out for him with Blumhouse and Universal's remake of "Speak No Evil," the 2022 Dutch hit from Christian Tafdrup that exploded in popularity after IFC Films and Shudder released the film stateside. The intensely bleak psychological horror film was declared by many as one of the very best of the year, and Blumhouse wasted little time snagging the remake rights. Lovers of the original were understandably skeptical, but "Speak No Evil" (2024) joins the ranks of the rare Americanized horror remakes that get it right. Instead of rehashing the same story beat by beat, Watkins — armed with a stellar ensemble cast led by a career-best James McAvoy — takes the central conflict of the original and explores how couples from different cultures would react under the same circumstances. The result is an assault of relentless tension and the best possible outcome for an Americanized remake..."
gizmodo.com
"Mike Flanagan is no stranger to giving people nightmares, thanks to a filmography that includes The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass, and Gerald’s Game. (His 2011 feature debut, Absentia, haunts me anytime I see a sidewalk that enters into a tunnel.) With a new Exorcist film on his list of upcoming projects—something he recently told the Hollywood Reporter he views as “an opportunity to make the scariest movie I’ve ever made”—he was asked which movies he personally finds terrifying, and his answer was surprising. Speaking to THR in the same interview, he gave special props to 2008 New French Extremity entry Martyrs (“There’s a lot of gore, but it’s gore with a point. I generally don’t love splatter”) but saved his highest praise for another movie, also from 2008: “The last one that truly frightened me into getting up off of the couch was an Australian movie, Lake Mungo. It chilled me to the bone...”
faroutmagazine.co.uk
"It’s fair to say that, in recent times, horror movies have become some of the most popular cinematic offerings. For whatever sociological or psychological reason, the audience seems to love the experience of being scared, and the result has been that many horror films are enjoying unprecedented commercial and critical success. Over the last few years, films from the likes of Ti West, Robert Eggers, and Ari Aster have captivated horror fans’ attention, but that doesn’t mean that every single horror movie is capable of delivering quality. In fact, history has proven that horror films frequently arrive without being able to make good on their promise. There are several reasons that a horror movie might fail even though it seems that, on the surface, it should succeed; a brilliant cast might fall victim to a poor script, or the scares of a film just might not land. Whatever the reason, though, it’s always a disappointment when we watch a shitty horror film that we hoped would do the real business. We’ve compiled a list of ten horror movies that ought to have been better considering their premises, casts or origins. So, from completely overhyped supernatural offerings to dodgy remakes and sequels, here is a selection of admittedly terrible horror films that had so much promise..."
bloody-disgusting.com
"... the film works because Hsu and Kun-Lin expertly deploy these (often heartfelt) conventions to great effect. They know exactly how to get audiences to invest emotionally in the characters’ relationship and the ending of the film is a genuine crowd pleaser in large part because we care so much about this ragtag team. The other reason the film is such a success is because it is a textbook execution of a horror comedy: it is laugh out loud funny and surprisingly gory... ... Then there’s the film’s use of comedic sound effects, which includes cartoon boings and other Looney Tunes-esque audio cues. These elements effortlessly reinforce the film’s inherent silliness. Then add in a not-surprising but deliciously spot-on karaoke backstory for one character, a gag with a removable mustache, and the satire of the industrial work complex that rewards youth, ostentatious behaviour and a large social media following above all else. Dead Talents Society is plenty of fun, but it is also making some astute political commentary. All of this is delivered in a highly energetic package by Hsu, who easily balances the film’s heartfelt character beats with the zany comedy. There are several sequences that play like a heist film as characters must execute their con on the living in order to successfully pull off a scare. The direction, sound effects and Shieh Meng Ju’s editing lends the film a zippy, high octane energy. Overall Dead Talents Society is a genuine crowd-pleaser: it’s fun, funny, extremely clever and filled with lovable characters. It’s an instant horror comedy classic and one of the best genre films of the year..."
screenrant.com
"As he branches out away from the world of horror, Mike Flanagan offers a cautiously optimistic update for Oculus 2. The 2014 horror movie served as Flanagan's first wide release and an adaptation of his short film Oculus: Chapter 3 – The Man with the Plan, centered on Karen Gillan's Kaylie and Brenton Thwaites' Tim confronting the literal demons of their past in the form of a haunted mirror that led to the deaths of their parents. Garnering largely positive reviews and grossing nine times its budget, the movie was an early step in Flanagan's eventual successful career. While speaking with Screen Rant for the Toronto International Film Festival premiere of his new movie, The Life of Chuck, Flanagan was asked about the possibility of Oculus 2 happening. The writer/director confirmed he has "a lot of stories" in that universe that he would "love to tell", though indicated that the biggest hurdle facing development on a sequel is determining who owns the rights to the original..."
www.slashfilm.com
"This post contains spoilers for "The Thing." There are several stand-out sequences in John Carpenter's cult classic "The Thing." The opening itself, where a Norwegian helicopter pursues a sled dog and attempts to shoot it, immediately sets the tone for this morbid tale enmeshed in distrust and paranoia. What initially feels like a senseless attempt at violence (or a classic case of humans behaving irrationally due to extreme isolation) is gradually revealed to be a sincere endeavor to rid the world of an evil force that can morph into people we know and trust. The inhabitants of the Antarctic research station feel helpless in the face of such a perfect organism — one that can mimic, adapt, and deceive at will — but the most cynical among them, MacReady (Kurt Russell), comes up with a litmus test to prove everyone's humanity and lure out the pretender. The method employed is rather crude, but it accomplishes the goal anyway: a red-hot wire is dipped into blood samples on Petri dishes, with the intent to figure out if the creature's self-preservative instincts would react to such intrusion. Uncontaminated human blood would merely make the wire fizzle, but a mutated sample would respond violently to such a perceived attack ... and it does. Although MacReady's extreme (yet understandable) method doesn't quite go according to plan, resulting in some innocent deaths, the culprit is eventually lured out, thrashing grotesquely in a bid to shield itself from harm. This tense, memorable sequence was the impetus behind Carpenter helming "The Thing," as it presented a unique opportunity to remake Christian Nyby's "The Thing from Another World" (along with adapting its brilliant source material, "Who Goes There?") while also allowing Carpenter to put his singular spin on it..."
www.screendaily.com
"Two Mormon missionaries go into the woods and are sure of a big surprise when they call on a seemingly peaceful cottage in Heretic. A24’s horror thriller — which premieres in Special Presentations at Toronto International Film Festival (TIFF) on Sunday — is the latest film from ascendant writer-directors Scott Beck and Bryan Woods, and audiences will be pleasantly surprised to learn the actor playing the diabolical Mr Reed, who welcomes the unsuspecting young women into his home for a terrifying game of cat-and-mouse, is none other than Hugh Grant..."
screenrant.com
"The humble TV show is a difficult medium to make horror stories work in, but several series have managed to ascend the ranks of the genre. While countless incredible horror films have endlessly proven the potential of the horror story in movie format, the many constraints of network television have made the success of creative horror TV series far less common. That being said, there are a number of standout horror shows that have stood the test of time as genre-defining works of art. The best horror shows take advantage of long-form storytelling to cast their protagonists deeper and deeper into despair over the course of a thoughtful story that puts character above all else. Conversely, TV is particularly suited to anthology stories when it comes to horror, with the episodic format of a series being the perfect platform to put forth a wide breadth of uniquely terrifying premises. In either case, it's become clear that a macabre fascination with scary stories has infiltrated both networks and streaming..."
variety.com
"Welcome to Horror Explorer, a curated column showcasing the month’s best movies, series, books and everything else spooky worth checking out. I’m William Earl, the editor of Variety.com and the publication’s resident horror enthusiast. Please drop me a line at wearl@variety.com if there’s something I should check out for next month’s missive..."
nypost.com
"One question repeatedly popped into my mind during “The Substance,” an outrageous and beyond bizarre horror movie that had its North American premiere Thursday night at the Toronto International Film Festival. What’s wrong with these people?! Our judgment begins with the damaged-to-deranged characters. Elisabeth Sparkle, played to the hilt by Demi Moore (what’s wrong with her?!), is an Oscar winner turned fading fitness guru a la Suzanne Somers whose luxurious Hollywood home is plastered with giant portraits of her in her prime. After Elisabeth is abruptly fired from her TV job, “Sparkle With Elizabeth,” the gutted actress learns of an underground drug called the Substance that promises to create a younger, sexier doppelgänger of a person. A certifiable California narcissist, Elisabeth signs right up. This is when we start to wonder what’s wrong with the astronomically talented and created writer-director Coralie Fargeat, whose French nightmares this astounding film surely sprang from. When Elisabeth injects the plutonium-green Substance, her back gorily splits open, and her nubile clone pops out like a xenomorph in “Alien.” The one unbreakable rule, with gnarly consequences, is that the young counterpart can walk the earth for only seven days at a time — while Elisabeth basically hibernates — before they swap places again. Almost immediately, Liz’s piggish former boss (Dennis Quaid at his funniest) casts the gorgeous clone, who names herself Sue, as his hot new workout show host of a program called “Pump It Up.” Elisabeth awakens only to be taunted by billboards and posters of Sue, and develops a love-hate relationship with her popular counterpart. Moore, at her most game and frequently unclothed, gives one of her best performances in years — going from It girl to Gollum in over two hours. Impeccable makeup and prosthetics help, but the true terror is created by her beneath the surface. Qualley, by contrast, spends most of the film smiling and squatting — never boringly, mind you — but that shiny veneer conceals building resentment and darkness. Opportunist Sue would rather not take a weeklong nap after seven days and goes to harmful extremes to stay awake. (Something is definitely wrong with her.) That leads to a Grand-Guignol finale so weird, warped and funny that we sit in awe of the fact that investors actually said, “Sure, we’ll pay for that.” As for the audience, something is wrong with us, too. I enjoyed this ride of titillation, torment, insanity and exploitation to such a preposterous extent that I’ve considered signing up for online therapy to wrestle with it. Perhaps that’s because, as jaw-droppingly odd as it is, “The Substance” is part of a grand, campy tradition. The movie is the hotter, younger offshoot of “Death Becomes Her” and, being set in a two-woman LA household stewing with envy, even “What Ever Happened to Baby Jane?” By the end, it’s “Frankenstein” and “Young Frankenstein.” Where Fargeat’s film distinguishes itself — and will send some viewers sprinting to the bathroom — is the amble body horror elements. Hers is a provocative, gruesome, bloody and, for some, nauseating movie that will be hugely controversial when it hits theaters later this month. Much like the title drug, it’s hard to broadly recommend it without listing off a host of side effects. However, at the movies today, there is nothing wrong with unbound creativity, epic vision and some gonzo entertainment. And, by the way, in its smart send-up of our youth-obsessed culture, there’s even a little substance, too."
www.gamesradar.com
"Blumhouse recently revealed the logo for its upcoming Universal Monsters movie Wolf Man and now, with Halloween Horror Nights having kicked off in Orlando, it looks to have unveiled a first look at its titular character, too. 'Enter the Blumhouse' is one of this year's attractions at the event, where attendees can come face to face with studio favorites like M3GAN, The Black Phone's The Grabber, Happy Death Day's Baby Face Killer, and more. Nearby, there's a photo op stand for Wolf Man, where someone in a mask and a tatty boiler suit lunges at passers-by with their bloodied hands. With videos emerging on social media, many have assumed it's a hint at what Christopher Abbott will look like when he transforms in the new movie. Some, it's fair to say, are hoping that that's not the case..."
variety.com
“The Ritual,” the upcoming exorcism horror in which Al Pacino and Dan Stevens play troubled priests, has sold out for most international territories by XYZ Films. From director David Midell, the film was written by Midell and Enrico Natale, and produced by Andrew Stevens, Mitchell Welch and Natale. Ashley Greene and Abigail Cowen round out the cast. XYZ, which has been quietly growing its own releasing arm on top of its sales operations, is planning a U.S. theatrical release in 2025. Based on a true story, “The Ritual” follows two priests — one questioning his faith (Stevens) and one reckoning with a troubled past (Pacino) — who must put aside their differences to save a possessed young woman through a difficult and dangerous series of exorcisms. The film is an authentic portrayal of Emma Schmidt, an American woman whose demonic possession culminated in harrowing exorcisms. Her case remains the most thoroughly documented exorcism in American history.
screenrant.com
"Every genre has its films that serve as the gold standard of the style, and that goes doubly true for horror movies. The best horror movies convey the best things about the genre while still being excellently made films on the technical side in their own right. It's safe to say that some of them are even near perfect, with little to no flaws that hold them back no matter how many years it may have been since they first debuted on cinema screens. There are several aspects that horror movies have to succeed in to be considered near-perfect. For one, they must be sufficiently scary, able to summon genuine dread and terror without the use of cheap jump scares or fake-outs. They also have to be proficient films as a whole, avoiding the usual pitfalls of bad movies like poor acting, shoddy writing, low-quality production design or cinematography, and lackluster editing or sound design. When a horror film is able to succeed in all of these categories while also adding something new to the formula, it creates a truly legendary experience..."
deadline.com
"EXCLUSIVE: The L.A.-based Screamfest Horror Film Festival has unveiled the first wave lineup for its 24th edition, taking place at the TCL Chinese Theatre in Hollywood from October 8-17. Among the films to look out for at this year’s festival are two produced for Hulu by WorthenBrooks (formerly 20th Digital Studio), on which we were first to report: Screamfest alum Brandon Espy’s Mr. Crocket and Justin Harding’s Carved, both of which will premiere on Hulu later this year. A supernatural horror film starring Jerrika Hinton and Elvis Nolasco, Mr. Crocket follows Summer Beverly (Hinton) as she embarks on a chilling journey to rescue her son from a sinister children’s show host with otherworldly powers. Starring Peyton Elizabeth Lee, Carved is a fun romp centered on a group of survivors trapped in a Halloween village battle with a sentient, vengeful pumpkin. In addition to Carved, world premieres at this year’s fest will include Drained, from filmmakers Sean Patrick Cronin and Peter Stylianous, and Dario Germani’s ALO – Antropophagus Legacy. Among other films to see is Joe DeBoer and Kyle McConaghy’s SXSW title Dead Mail, in which an ominous help note finds its way to a 1980s post office, connecting a dead letter investigator to a kidnapped keyboard technician. Highlights from this year’s shorts program include filmmaker Felipe Vargas’s Hive starring Xochitl Gomez; Dakota Daulby and Harrison Houde’s Adjoining starring Brenna D’Amico; Jake Bradbury and Toni Blando’s Disfigura, featuring Hellboy‘s Doug Jones; Fresh Blood starring Clara Mcgregor (American Horror Story) and directed by Emma Westenberg; and The Underground from director Rachel Talalay. Tickets will be on sale soon at the link. Stated Rachel Belofsky, who founded Screamfest in 2001, “We’re excited to offer horror fans a diverse selection of terrifying films from across the globe.” For Screamfest’s full feature line-up, read on..."
Not much to it really. The "mystery" didn't develop much, there wasn't a sense of suspense, the "mystery solving" sequences didn't solve much, the acting wasn't good, there wasn't any sense of evil on the satanism. Really blah. A waste of time for real horror fans, IMHO.
Horror
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