So, what horror movies have you see this month?

Make a new post for each movie to aid discussion.

> 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.

1. “Possession” (dir. Andrzej Żuławski, 1981)
2. “The Thing” (dir. John Carpenter, 1982)
3. “Don’t Look Now” (dir. Nicolas Roeg, 1973)
4. “The Cabinet of Dr. Caligari” (dir. Robert Wiene, 1920)
5. “The Texas Chainsaw Massacre” (dir. Tobe Hopper, 1974)
6. “House” (dir. Nobuhiko Obayashi, 1977)
7. “Trouble Every Day” (dir. Claire Denis, 2001)
8. “The Shining” (dir. Stanley Kubrick, 1980)
9. “The Blair Witch Project” (dir. Daniel Myrick and Eduardo Sánchez, 1999)
10. “Videodrome” (dir. David Cronenberg, 1983)
11. “Alien” (dir. Ridley Scott, 1979)
12. “Get Out” (dir. Jordan Peele, 2017)
13. “Night of the Living Dead” (dir. George Romero, 1968)
14. “Eyes Without a Face” (dir. Georges Franju, 1960)
15. “Funny Games” (dir. Michael Haneke, 1997)
16. “Deep Red” (dir. Dario Argento, 1975)
17. “I Walked with a Zombie” (dir. Jacques Tourneur, 1943)
18. “Halloween” (dir. John Carpenter, 1978)
19. “Evil Dead II” (dir. Sam Raimi, 1987)
20. “The Host” (dir. Bong Joon-Ho, 2006)
21. “Tetsuo: The Iron Man” (dir. Shinya Tsukamoto, 1989)
22. “Henry: Portrait of a Serial Killer” (dir. John McNaughton, 1986)
23. “The Haunting” (dir. Robert Wise, 1963)
24. “Vampyr” (dir. Carl Theodor Dreyer, 1932)
25. “Raw” (dir. Julia Ducournau, 2016)
26. “Bride of Frankenstein” (dir. James Whale, 1935)
27. “Ganja & Hess” (dir. William Gunn, 1973)
28. “The Wicker Man” (dir. Robin Hardy, 1973)
29. “Near Dark” (dir. Kathryn Bigelow, 1987)
30. “Audition” (dir. Takashi Miike, 1999)
31. “Cat People” (dir. Jacques Turner, 1942)
32. “Under the Skin” (dir. Jonathan Glazer, 2013)
33. “Hellraiser” (dir. Clive Barker, 1987)
34. “The Beyond” (dir. Lucio Fulci, 1981)
35. “The Others” (dir. Alejandro Amenábar, 2001)
36. “Nosferatu the Vampyre” (dir. Werner Herzog, 1979)
37. “Freaks” (dir. Tod Browning, 1932)
38. “Psycho” (dir. Alfred Hitchcock, 1960)
39. “Hour of the Wolf” (dir. Ingmar Bergman, 1968)
40. “Nosferatu” (dir. F.W. Murnau, 1922)
41. “The Innocents” (dir. Jack Clayton, 1961)
42. “Rosemary’s Baby” (dir. Roman Polanski, 1968)
43. “Arrebato” (dir. Ivan Zulueta, 1979)
44. “Cure” (dir. Kiyoshi Kurosawa, 1997)
45. “Brain Dead” (dir. Peter Jackson, 1992)
46. “Night of the Demon” (dir. Jacques Tourneur, 1957)
47. “Let the Right One In” (dir. Tomas Alfredson, 2008)
48. “The Fly” (dir. David Cronenberg, 1986)
49. “Carrie” (dir. Brian De Palma, 1976)
50. “Candyman” (dir. Bernard Rose, 1992)
51. “The Exorcist” (dir. William Friedkin, 1973)
52. “Kwaidan” (dir. Masaki Kobayashi, 1964)
53. “Häxan” (dir. Benjamin Christensen, 1922)
54. “The Seventh Victim” (dir. Mark Robson, 1943)
55. “Carnival of Souls” (dir. Herk Harvey, 1962)
56. “Santa Sangre” (dir. Alejandro Jodorowsky, 1989)
57. “The Cremator” (dir. Juraj Herz, 1969)
58. “The Devil’s Backbone” (dir. Guillermo Del Toro, 2001)
59. “Onibaba” (dir. Kaneto Shindō, 1964)
60. “An American Werewolf in London” (dir. John Landis, 1981)
61. “A Girl Walks Home Alone At Night” (dir. Ana Lily Amirpour, 2014)
62. “The Phantom Carriage” (dir. Victor Sjöström, 1921)
63. “Invasion of the Body-Snatchers” (dir. Phillip Kaufman, 1978)
64. “Shaun of the Dead” (dir. Edgar Wright, 2004)
65. “The Babadook” (dir. Jennifer Kent, 2014)
66. “Suspiria” (dir. Dario Argento, 1977)
67. “Dawn of the Dead” (dir. George Romero, 1978)
68. “Jaws” (dir. Steven Spielberg, 1975)
69. “In the Mouth of Madness” (dir. John Carpenter, 1994)
70. “Twin Peaks: Fire Walk With Me” (dir. David Lynch, 1992)
71. “Bram Stoker’s Dracula” (dir. Francis Ford Coppola, 1992)
72. “The Birds” (dir. Alfred Hitchcock, 1963)
73. “A Tale of Two Sisters” (dir. Kim Jee-woon, 2003)
74. “Scream” (dir. Wes Craven, 1996)
75. “Hereditary” (dir. Ari Aster, 2018)

At this moment, it's hard to disconnect the new Salem's Lot from its nearly two-year release delay, during which many feared the film would never, ahem, see the light of day. That's an unfortunate situation. On the one hand, it clearly didn't deserve to sit on the shelf for so long, caught up in the leadership change at Warner Bros. On the other, it doesn't quite live up to the expectations that inevitably built as Stephen King pressured the studio to release it.

I hope, with time, it can exist on its own terms. But my viewing experience was shaped by this context, which seemed to make the movie's virtues and failings equally glaring. I can't speak to how well it adapts its source material; I've never read King's original book, nor have I seen either of the two miniseries versions. I can only say I found the script inconsistently effective, balanced out by an often strong sense for horror image-making that should leave fans of vampire tales with enough to feel satisfied when the credits roll...

Pros

• A frightening, old-school take on vampires
• A strong sense for horror imagemaking that leaves an impression

Cons

• Storytelling dilutes focus instead of deepening the scares
• A shaky script with occasionally awkward-sounding dialogue

> The writer and director of slasher-comedy Freaky reunite for Netflix’s time-traveling slasher movie Time Cut, which has been described as “Back to the Future meets Scream.” > > Time Cut slashes into Netflix on October 30, 2024. > > ... > > Hannah Macpherson (“Into the Dark”) directed the film, written by Macpherson and Michael Kennedy (Freaky, It’s a Wonderful Knife) from a story by Michael Kennedy. > >In Time Cut… > >>“A teenage girl travels back to the early 2000s to stop a vicious killer from murdering her sister.”

cross-posted from: https://feddit.uk/post/17939015

> > The details of Freddy Krueger’s ratty red-and-green sweater and knife-tipped glove will look extra horrific when A Nightmare on Elm Street, Wes Craven‘s 1984 slasher classic, arrives on 4K UHD just in time for a spooky season re-watch. To mark the occasion, io9 got to speak with its stars, Heather Langenkamp (who plays smart yet sleepy final girl Nancy Thompson) and Robert Englund (the dream demon himself), about their experiences making the film—and whether they’d be willing to get back in character again. > > > > Cheryl Eddy, io9: Which scene in A Nightmare on Elm Street do you think will benefit the most from the 4K UHD upgrade? > > > >Robert Englund: Here’s the thing. What we have to remember—and it’s difficult for me because I always wanted to be a movie actor—I always imagined Nightmare on Elm Street playing in a movie theater. But most of our fans discovered this film as part of the video generation. So they saw it less than perfect. Their memories of it are less than perfect. They have great memories of sharing it with mom and dad, or a stepdad or a step-mom, or brothers and sisters, you know, fresh from the video store, running home with a copy. But a lot of them also saw old, dog-eared copies that had been lying around in the bookshelf for a while or passed around the dormitory. This is an opportunity to see this better than Heather and I’ve ever seen it. To see it absolutely pristine and enhanced, you know, ultra high def 4K. I just had this experience with the old Alfred Hitchcock film Rear Window; it was mind blowing to see it in my living room, that perfect and wonderful. And I’m so looking forward to this. And there’s some new stuff [in the “uncut” version, included in the remastered release along with the theatrical version], right? > > > > ... > > > > A Nightmare on Elm Street hits 4K Ultra HD on Digital October 1; it will be available on Amazon Prime Video, Apple TV, Google Play, Fandango at Home, and more. The Blu-ray 4K UHD arrives October 15. The 4K UHD remaster includes both the theatrical and uncut versions; the latter features eight additional seconds of unrated footage. > > > >Other previously released special features included are as follows, according to a Warner Bros. press release: > > > >* Ready Freddy Focus Points > >* Commentary with Wes Craven, Robert Englund, Heather Langenkamp, Ronnie Blakely, Robert Shaye, and Sara Risher. > >* Commentary with Wes Craven, Heather Langenkamp, John Saxon, and Jacques Haitkin. > >* Alternate endings > >* The House that Freddy Built: The Legacy of New Line Horror > >* Never Sleep Again: A Nightmare on Elm Street > >* Night Terrors: The Origins of Wes Craven’s Nightmares

> The next installment in the Hellboy franchise, The Crooked Man, seems to be bypassing theaters in the US and heading straight to digital. > > While the movie is getting a theatrical release in the UK, it looks like you'll be able to watch it on VOD in the US from October 8 at 12am ET, or 9pm PT on October 7 (H/T ComicBook.com). It seems the US won't be getting a theatrical release at all. > > ... > > If you're wondering if the new movie is worth checking out on VOD, our own three star Hellboy: The Crooked Man review verdict reads: "Hellboy: The Crooked Man embraces the comics' folk-horror vibe but the balance of atmosphere and ass-kicking is slightly off."

> "The biggest and best movies are always backed by a substantial budget" is a sentiment that you will never hear from the horror crowd. Even though a finely polished horror experience with big-name actors and expensive effects can be nice, there is a lot of quality content to be found by looking at b-movies, or even z-grade cinema. These movies have often pushed the genre forward in fascinating ways compared to their big-budget counterparts; you can argue The Evil Dead with its budget of $375k is just as influential as The Shining with its 19 million dollar budget. > > Out of all the eras of low-budget horror, the '80s perhaps had the biggest hits and were the most beloved and influential time period for horror movies. Of course, the availability of VHS during the 1980s helped a lot of these productions find footing in the home video market, but many filmmakers still pushed for excellence, wanting to reach new audiences outside the theater system. These 10 movies exemplify some of the best low-budget horror from the '80s.

1. Hellraiser (1987)
2. Class of Nuke 'Em High (1986)
3. TerrorVision (1986)
4. Basket Case (1982)
5. Evil Dead Trap (1988)
6. Blood Diner (1987)
7. Mystics in Bali (1981)
8. Re-Animator (1981)
9. Evil Dead (1981)
10. Slime City (1988)

>Dracula may be the best known fictional vampire around but Bram Stoker’s creation is far from the origin point. European folklore and stories like John Polidori’s “The Vampyre” from 1819 had long established vampires as frightening creatures, and it’s this tradition that Adrien Beau draws on for his take. He specifically adapts Aleksy Tolstoy’s novella “The Family of the Vourdalak”, which has previously received two cinematic treatments, the most memorable being as one of the stories in Mario Bava’s Black Sabbath.

>In contrast to Bava’s stagey melodrama, Beau’s feature debut builds on the genre fluidity previously explored in his short films, melding historical drama with fantasy to tell a gothic vampire tale through the aesthetics of folk horror. There’s a bit of Hammer Horror in there too, and being shot on 16mm film brings a whole other aesthetic into play, so far from being a hodge-podge of ideas, Beau crafts his own vision in a beguiling and strange way...

>... For all the complex themes it tackles, the film never feels overstuffed and works as a slow-burn creepy horror. The house and area surrounding are ideal locations, especially as the film mostly takes place in day-time, which offers the illusion of openness and freedom. The smallest of details add to the horror, like the sign of the vourdalak when they noisily suck on clothing – an innocuous activity that becomes disturbing when hyperfocused on. With The Vourdalak as his debut feature film, Beau marks himself as one to watch by bringing something new to a familiar horror creature.

>Horror has always been one of cinema's most versatile genres and has been blended with everything from science fiction to Western to deliver terrifying stories. Many horror movies will use a whodunit-style of mystery to keep audiences engaged, forcing them to try and guess which of the film's characters is the person behind the mask. This is a particular hallmark of slashers, which offer viewers a cast of characters who may be the killer, inviting them to try and work it out before the big reveal.

>Horror and mystery go together incredibly well, especially considering the genre's natural overlap with the themes of the thriller genre. Some of the best films and franchises of all time remain popular due to their ability to craft a genuine puzzle for viewers to solve, with some being so great they're worth it just to see the big unmasking. From modern urban legends to supernatural stories inspired by HP Lovecraft, the horror genre is at its best when it leaves a lot to the imagination.

Urban Legend (1998)

I Know What You Did Last Summer (1997)

Phantoms (1998)

Candyman (1992)

Get Out (2017)

Longlegs (2024)

Scream (1996)

Sinister (2012)

In the Mouth of Madness (1995)

The Thing (1982)

> We’ve all seen movies that show the beginning of an outbreak. Viral, zombie, no matter which it is, the outbreak always starts with one person and then quickly spreads everywhere. What you probably haven’t seen, though, is that story told in real-time without edits, following a group of friends on what was supposed to be a fun night out that turns into an absolute nightmare. > > That’s the plot of Mads, a new French film from director David Moreau. It’s a 90-ish minute single take (or at least, is made to look that way with hidden cuts) that starts in a guy’s apartment, goes down the road, into a house, back into a car, to a party, onto the streets, and into a tall building, all while the camera follows either on foot or by vehicle. The result is a constantly stressful ride that leaves you a little empty story-wise but sufficiently blown away at the impact the filmmaking style has on it.

IMDb

>A scene from the unique horror movie experience Abruptio features Nope's Jordan Peele in a new clip as fans get their first look at Peele's role in the chilling puppet-filled tale.

>Screen Rant recently premiered a new scene from Abruptio, featuring Peele alongside Buffy the Vampire Slayer's James Marsters, who leads the star-studded cast of the thrilling horror film. The movie is the first horror feature to tell its story using striking, realistic, life-sized puppets throughout the entirety of the film. Abruptio is written and directed by Evan Marlowe, produced by Kerry Marlowe, and by Thomas Zambeck and Brian Katz via Anchor Bay Entertainment.

>In the Abruptio clip, Peele's character, Danny, is seen playing a song on his guitar before offering relationship advice to Marsters' character, Les Hackel. Both characters are brought to life by life-sized handmade puppets that seem to speak, move and blink in a nearly life-like manner. Watch the clip...

>Nothing goes harder than a good horror movie, but we want more than jump scares, SFX, and creepy music. The best horror has real meaning behind it. The latest body horror to drop in 2024 is “The Substance” and its trailer implies a narrative that hits extremely close to home for many of us. Taking society’s fears and making them even more gruesome is what takes body horror to the next level; because what’s scarier than reality?

> Here we are, then: Hellboy take three. After Guillermo del Toro’s superb 2004-to-’08 double bill and Neil Marshall’s bloated 2019 attempt to take things into harsher action-horror territory, we now get the purist’s approach. Directed by Brian ‘Crank’ Taylor, who also co-wrote the script with Hellboy creator Mike Mignola (drawing heavily on his limited-edition series), Hellboy: The Crooked Man strips away the fantastical spectacle and brings its diabolic hero down to ground level, as it were, in a gritty low-fi chiller. > > Similarly to Matt Reeves’ The Batman, there’s thankfully no attempt to re-tell Hellboy’s origin story. We’re just dropped right into another day at the office — or rather field trip — picking up with Red and his obligatory attractive-female sidekick (Adeline Rudolph) while they’re transporting a magically mutated funnel-web spider from A to B. Shit swiftly goes south in a little train-crash/monster-tussle set-piece that’s fun enough to forgive the evident limitations of the VFX and offer some hope for what follows. However, once the main plot kicks in, that hope quickly dissipates. > >The problem is, with the reduced scale, there’s also an acute lowering of stakes. Whereas previously we saw a guy who was created to end the world having to save that world (which understandably hates and fears him), here he’s just messing inconsequentially around with a local supernatural annoyance in a barely populated cranny of Nowheresville.

>Ryan Coogler and Michael B. Jordan's secret vampire movie has finally got a title: Sinners. The name was announced just a few hours before Warner Bros. unveiled the fang-filled flick's first trailer, and it looks like a mix between Lovecraft Country and Midnight Mass.

>Since Jordan was cast in January 2024, the supernatural horror has been shrouded in mystery. As details slowly began to emerge, like the fact that it'd be set in the '30s, was inspired by anime and that it has franchise potential, though, the aforementioned studio acquired the distribution rights and kicked off filming in April. Principal photography wrapped in July.

>Set in the South during the Jim Crow era, it follows Jordan's character, a twin brother who return to his hometown in an attempt to leave his troubled life behind and start over. Unfortunately for him, though, there's a greater evil than they've ever known waiting to welcome them back. Watch the promo above.

>"Of all the things I've seen, I ain't never seen no demons, no ghosts, no magic... 'til now," one of Jordan's characters whispers, as a montage runs through increasingly frightening images. "You keep dancing with the devil, one day it's gonna follow you home," says another ominously, as they gather to ward off the unseen beasts that seem to be waiting outside...

> First reviews for Terrifier 3 are coming in – and, so far, they're very positive. > > The threequel is set during Christmastime, and it sees Art the Clown return to wreak more havoc. We don't think he's got the holiday spirit, to be honest… > >There's not enough reviews for a Rotten Tomatoes score just yet, but, as it stands, they're mostly praising the slasher. "It's the best Terrifier yet, just in time to make your Christmas bloodier," writes AV Club. > > "Leone's passion for pure, unfiltered shock value is truly on display. As messed up as it is, and as offended as you may be by it, it's hard not to respect it. It's a big, intense, and freaking insane exercise in blood-soaked mania," is the verdict of io9. > > "Terrifier 3 is the best Terrifier movie yet, and one that turns murder into an Art-form," says Dexerto. > > There is, however, one negative review so far: "Terrifier 3 offers some satisfying kills and incredible practical effects, but with a runtime of over two hours, that's unlikely to satisfy anyone beyond the franchise's core fans," is FandomWire's take.

> Scott Beck and Bryan Woods have mastered the art of the 8 out of 10 genre movie. No one in the world is making better 8 out of 10 horror and science fiction films. And their latest movie, the claustrophobic religious thriller "Heretic" is a 10 out of 10 in the category of 8 out of 10 horror movies. I know this sounds like a lunatic thing to say, but 60% of the time, it works every time. > > "Heretic" continues the trend of Beck and Woods being two extremely talented movie dorks who read the room and know exactly what the audience wants, even if they don't know they want it yet. "Haunt" is a modern gem that will only accrue a powerful cult following as the years go by, the Adam Driver-versus-dinosaurs survival adventure "65" is one of the most unjustly overlooked blockbusters of the past few years, and now "Heretic" is an A24 horror movie that has all of the trappings of something like "Hereditary" while also thinking of the audience's pleasure first and foremost. It's dark and nasty and cerebral, but it also never forgets to be a good time at the movies. One gets the impression that Beck and Woods would happily sacrifice a few points in reviews from hoity-toity critics like me if it means sending the audience out into the lobby buzzing and on a strong cinematic high.

> Horror movies of the 1980s are some of the best and most influential of the 20th century, and many of them are responsible for creating new niches within the genre. Blending the frightening aspects with drama, social commentary, and psychological thriller elements sets these films apart from their competition and distinguishes them from other works of horror. The 1980s were a particularly strong decade for horror because there was significant social and political upheaval happening around the world, which lends itself to being represented through art. > > Though many of the most influential scary movies are well-remembered, there are plenty of underrated 1980s horror movies worth checking out. More often than not, terrifying and boundary-pushing works are misunderstood when they're first released, but later critical reception reveals them to be ahead of their times in terms of thematic storytelling or visual style. Overtly graphic or violent horror films aren't necessarily the most creative, but when new ways of experiencing horror are shown on screen, it's impossible not to take note.

1. The Shining (1980)
2. The Thing (1982)
3. The Fly (1986)
4. Hellraiser (1987)
5. Cannibal Holocaust (1980)
6. The Entity (1982)
7. Possession (1981)
8. The Evil Dead (1981)
9. Poltergeist (1982)
10. The Witches Of Eastwick (1987)

> Freddie Prinze Jr (The Girl in the Pool, Christmas with You) has officially joined Sony‘s I Know What You Did Last Summer sequel film, reprising the role of Ray Bronson from the original 1997 movie and its 1998 follow-up, sources reveal to Deadline. > > Deadline revealed Prinze Jr and his co-star Jennifer Love Hewitt were negotiating to return for the franchise continuation project when it was confirmed to be in development in early 2023. Hewitt is still very much in negotiations to reprise the role of Julie James, we hear. > > The previously announced cast includes Chase Sui Wonders, Madelyn Cline, Sarah Pidgeon, Tyriq Withers and Jonah Haur-King. Plot details for this latest installment are unknown.

> Monsters as metaphors are nothing new to the world of fiction, allowing creators to find novel ways to explore the unknown through horror tropes. The genre has seen a surplus of films using this device in the 10 years since Jennifer Kent’s The Babadook was released to critical and commercial success, and we can now add Spider One‘s Little Bites to the list. It’s a well-intentioned film, with the musician-turned-filmmaker delivering a visually striking parental horror film that boasts a strong lead performance, but it suffers from a transparent script and some severe pacing issues. > > Widowed mother Mindy (Krsy Fox, Terrifier 3) is in the middle of a depressive episode. She sends her daughter Alice (Elizabeth Phoenix Caro) to stay with her mother (Bonnie Aarons, The Nun) while attending to a hideous creature (Jon Sklaroff) that lives in her basement closet. “Attending,” in this case, means allowing the creature to bite Mindy all over her body whenever it rings its dinner bell, slowly consuming her flesh as she grows weaker and weaker. Realizing she cannot continue living this way, she decides to take a stand against the creature before it can latch its jaws onto her daughter’s flesh.

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IMDb

>“It qualifies only as instant junk.” This is what Vincent Canby said in his review of 1982’s The Thing. Director John Carpenter’s sixth feature film (which mixed the genres of science fiction and horror) told the tale of deadly extraterrestrials in Antarctica through the use of extreme visuals and constant paranoia. While both of these trademarks found in this novella adaptation were initially torn apart by many critics upon release, the Kurt Russell starring movie later found immense success through these same two attributes when it was later released on home video and syndicated on television.

>Considering the fact that The Thing was later re-evaluated and regarded as one of the best horror and science fiction films of all time, it’s no surprise that many of the film’s more stark elements made it into other Hollywood projects. While movies like 1992’s Reservoir Dogs transplants the feeling of deceptiveness into a more urban setting and 2016’s The Void puts the cosmic horror into a hospital instead of a research facility, the small screen tended to be a bit more creative with Carpenter’s original work.

>While the tribute was respectable but rather tame in the eighth episode of the first season of the X-Files (only so much can be shown on cable television), a 1997 episode of Fox Kid’s Sam and Max: Freelance Police swung the extreme opposite way and saw two animated, anthropomorphic animals try to take down a similar creature — in theory — the “alien” was located in a supporting character’s literal refrigerator. Too comical? Yeah, we thought so, too. What about a classic Hanna-Barbera cartoon, The Real Adventures of Jonny Quest, that consistently dared to push the envelope? They not only have the gall to adapt The Thing (in a non-comedic fashion), but they even put their own spin on Split-Face. Let’s check it out and see if this is an honorable homage to Carpenter’s film...

> I first discovered After Midnight (1989) during my freshman year of college. There at I Luv Video was this VHS tape that gave me nostalgia for a movie I actually hadn’t seen yet. The woman on the cover, a character played by Jillian McWhirter, was quite literally trapped in time, and the tagline beneath her fiery fate read: “Anything Can Happen in the Dark.” As it turned out, my little case of memory distortion was rather fitting; this movie starts off with someone having a vague recollection, albeit of a terrible event. > > Growing up I had passed by After Midnight many times at my local video shop, but it wasn’t until some years later that I gave it a watch. And after witnessing the nightmarish fate of those college students enrolled in The Psychology of Fear, I was hooked. Jim and Ken Wheat’s movie — their horror debut as directors and producers after penning Silent Scream, A Nightmare on Elm Street 4: The Dream Master, and The Fly II — has since become a favorite. You could even say my enthusiasm for anthologies today was influenced by After Midnight. > >In hindsight, the VHS synopsis for After Midnight didn’t exactly advertise itself as an anthology; the only indication was the bit of “sharing stories” on the tape’s back cover. Nevertheless, I was pleasantly surprised to find another movie like Creepshow, Tales from the Darkside: The Movie, and Tales from the Hood. And it is only after the somewhat involved setup does this movie reveal itself to be an anthology. The Wheat Brothers were inspired by 1945’s Dead of Night, another horror portmanteau where the substories happen later than sooner, and the storytellers aren’t your usual Creep or Crypt Keeper types. Much like another anthology I enjoy, Campfire Tales, the narrators here are normal people. Some less so than others, but that fact is revealed later on. > > ... > > After Midnight isn’t held in the same regard as other anthologies, and it’s not particularly scary, but this underseen movie is rich in charm and atmosphere. From my view, it showed up at the right time of my life and opened the door to even more segmented horror. And for that I’m willing to look past its lack of scares and appreciate its many other redeeming traits

cross-posted from: https://feddit.uk/post/17857317

> > Now… many of you will no doubt have been wondering exactly why it is that Second Sight in the UK had to stop taking pre-orders for this title from customers here in the United States. > > > >Well, with this announcement this afternoon, now we finally know why. > > > >(Here are all the official details, straight from the studio… > > > >(Coming to 4K Ultra HD and Blu-ray Disc from Warner Bros. Discovery Home Entertainment on October 22 > > > >Newly remastered in Dolby Vision HDR from a new 4K Scan of the Original Camera Negative! > > > >THE HITCHER (1986) > > > > ... > > > > For those of you who may be wondering, note that this UHD release features the exact same new 4K scan and remaster that Second Sight is releasing in the UK on 10/11. And the new Blu-ray edition is mastered from this new scan as well. So if you’re looking for a more affordable option to purchase this title here in the States rather than importing it from the UK, now you have one available.

> M. Night Shyamalan is the producer for an upcoming thriller titled Caddo Lake, formerly The Vanishings At Caddo Lake, and the official trailer has been released this afternoon > > ... > > “The plot revolves around when an 8-year-old girl mysteriously vanishes on Caddo Lake, a series of past deaths and disappearances begin to link together, forever altering a broken family’s history.” > > ... > > The inspiration for Caddo Lake was sparked after filmmakers, Celine Held and Logan George, came across a photograph of the real Caddo Lake online, leading to many visits to the cypress forest that rests on the border of Texas and Louisiana. The film was shot in late 2021 and 2022 in and around Karnak, Texas.

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IMDb

cross-posted from: https://feddit.uk/post/17805465

> > Horror can be a difficult genre to get into. While its fans enjoy feeling the tension provided by a good horror movie, those who are less experienced with the genre often don't enjoy that feeling. But, for many, a comedic tone can help to remedy this issue. > > > > Horror comedies are a great way to get into the genre. Horror is all about building tension, but laughter is all about relieving it. As a result, the best horror comedies don't stay tense for too long because they know when to put audiences on edge, while also knowing when to make them feel comfortable with a joke. The filmmakers behind these movies expertly blend screams and laughs to create horror films that are perfect for those who don't typically like the genre. > > 1. 'Evil Dead II' (1987) > 2. 'Shaun of the Dead' (2004) > 3. 'Zombieland' (2009) > 4. 'Ready or Not' (2019) > 5. 'The Cabin in the Woods' (2012) > 6. 'Gremlins' (1984) > 7. 'Freaky' (2020) > 8. 'Tucker & Dale vs. Evil' (2010) > 9. 'Killer Klowns from Outer Space' (1988) > 10. 'Happy Death Day' (2017)

> Galder Gaztelu-Urrutia brings the highly anticipated sequel The Platform 2 to Netflix on October 4, and the streamer has debuted the bonkers official trailer this afternoon. > > Begin the resistance by watching the official trailer for The Platform 2 below. > >In Galder Gaztelu-Urrutia’s sequel, “A mysterious figure has managed to establish a new law in The Platform, but can justice truly be enforced in hell? And who will enforce it?”

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> Cranked Up Films in association with 13th Floor Productions and Wallick Productions has released their feature length horror anthology Tenants on all major VOD outlets today. > > Watch an exclusive clip below and find the Red Band trailer underneath. > >The horror film – which features four tales of interwoven terror – was written and produced by Mary O’Neil – who also stars – with segments directed by Buz Wallick (“Psycho Storm Chaser”), Sean Mesler (“Show Us Responding”), Jonathan Lewis (“Sinister Surgeon”) and Blake Reigle (“One of Us”). Additional producers include Jay Black, Bill Spadea, Douglas Vermeeren and Lewis, Mesler and Wallick, the latter two having also co-wrote. > >Tenants revolves around the character of Jonie (O’Neil), who after waking up in an unfamiliar apartment complex, finds herself in a desperate search for her sister while being hunted by a shadowy figure…

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> PLOT: In a world where no one speaks, a devout female-led community hunts down a young woman who has escaped imprisonment. Recaptured, Azrael is due to be sacrificed to an ancient evil in the wilderness, but fights for her own survival. > > REVIEW: I’d consider Samara Weaving to be one of the best actresses working in horror. Her work in Ready or Not, The Babysitter, and Scream 6 has cemented her as a standout in the genre. Her natural charisma always shines through in her work. And she always picks such interesting roles that I’m not surprised to see her choosing one entirely lacking dialogue. But Azrael is more than just its gimmick, providing a badass new heroine and an intriguing world that I’d love to see more of. > > ... > > Ultimately, Azrael is going to be a tough sell for audiences. Having a film that’s practically void of dialogue makes those willing to take the journey surprisingly small. But if you’re willing, you’ll be rewarded with a fantastic performance from Weaving and some absolutely gorgeous visuals. There’s some bland story beats but the aesthetic really carries it across the finish line. I wish film novelization were still a prominent thing.

> While there’s no telling if or when a certain other Black vampire film will make its way into theaters, the first trailer for writer / director Ryan Coogler’s Sinners is here, and it looks sick as hell. > >We’ve seen Coogler direct powerful pieces of dramatic social commentary like Fruitvale Station and blockbuster genre features like the Black Panther films, but he’s turning to straight horror with his latest project. Set in the 1930s Jim Crow South, Sinners revolves around twin brothers (both played by Michael B. Jordan) who return to their small-town home hoping to start new lives, only to find something deeply sinister waiting for them. In the daytime, there’s an unsettling presence lurking in the shadows that keeps the townsfolk (Miles Caton, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, and Li Jun Li) looking over their shoulders.

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> > A man learns that his immortality comes with severe mental consequences. > > IMDb > > Now with added Al Jourgensen: > > ! > > > It's a love affair > > Mainly Jesus and my hot rod

> Nosebleeds, a metallic taste in the mouth, feet that go up a whole size the side effects of pregnancy are their own kind of body horror and a slew of films released this year hone in on just how bloody and brutal childbirth can be. Immaculate, The First Omen, Apartment 7A and Alien: Romulus all feature pregnancies that are invasive, the result of non-consensual sexual encounters. The terror the women in these films experience when they’re at their most vulnerable is heightened by how isolated they are, either in remote locations, by a language barrier, in new cities or in the vast reaches of space. Escape seems impossible – where can you run when you’re hostage to the horrors of your own body? > >The past few years have birthed a spate of pregnancy horror films – Clock’s take on the societal pressure to have a child, Baby Ruby’s examination of postpartum depression – marking a significant trend in the wake of the US supreme court’s overturning of Roe v Wade, and several states enacting laws that deprive women of bodily autonomy. Apartment 7A (a prequel to Rosemary’s Baby) is set in the mid-1960s, The First Omen in 1971, Immaculate in the present and Alien: Romulus between 2122 and 2183, but all reflect current anxieties. For all their otherworldly and supernatural frights, they tap into very real fears. > > ... > > These are not the only films this year to feature gnarly birth sequences – while The Substance’s is back-breaking (literally!), Beetlejuice Beetlejuice depicts a toddler bursting out of a rapidly expanding stomach, followed by a gush of amniotic fluid. And in Nightbitch, which recently premiered at the Toronto international film festival, the pressures of parenting lead one woman (Amy Adams) to believe she’s transforming into a dog. For film-makers this year, the stresses of pregnancy and motherhood continue to be fertile cinematic ground.

>It’s that time of year. The trees are browning, and the nights become darker, which means only one thing – Halloween! Netflix releases its slate of horror movies for the month, and 2024 has a fantastic selection on the way. Below, we’ve hand-picked

>For October, we’ll give you two extensive lists of movies you should watch. That’s because it’s Halloween season, and it felt right to highlight some brand-new horror, thriller, or other Halloween-adjacent titles on the way. As always with our best-of lists on what’s coming up, we’ll be splitting this list up into two halves, with the first four picks covering Netflix Original titles and the other four touching on the licensed movies coming to Netflix in the US (other region’s availability will vary).

>As a quick aside, Netflix’s new licensed horror for Halloween is pretty impressive for the first year in a long time. It comes as Netflix has greater access to catalogs from rivals, which had been held back in prior years as many rival companies to Netflix are looking for cash.

>The Substance is one of the best horror movies of 2024, and here are 10 other films to watch if you like Coralie Fargeat's terrifying thriller. The Substance's body horror is some of the best that has been seen on the big screen in years, with it calling back to some of the body horror greats like David Cronenberg. The Substance's mix of gore, comedy, and social commentary makes it a wholly unique experience that is deserving of praise, with its style making it stand out among the many horror movies that have been released in recent years.

>The Substance follows Demi Moore's Elisabeth Sparkle, an aging actress and model who wants nothing more than to be as beautiful as she believes she once was. Elisabeth signs up to test out a new drug called The Substance that promises to create a new her, with it only having a few rules regarding its usage. The Substance causes the seemingly perfect version of Elisabeth to emerge from her body, but things quickly turn horrific when Elisabeth and her counterpart Sue begin to butt heads over who gets to be in control. So, here are the best movies like The Substance.

> Leigh Whannell has long had a propensity for producing palpitation-inducing terror. He co-created both Saw and Insidious alongside James Wan; stepped up as director for Insidious: Chapter 3; and more recently has conjured gag-worthy gore and breathless tension with the likes of Upgrade and The Invisible Man. But as Whannell sees it, his previous two critically-lauded features have been more horror-adjacent genre hybrids – and with his upcoming Wolf Man, another fresh take on one of Universal’s classic monsters, he’s ready to really scare you again. > >“Upgrade was more sci-fi action,” Whannell tells Empire. “I was watching a lot of domestic thrillers when I wrote The Invisible Man, because I love that genre. [Wolf Man] is me saying, ‘I just wanted to make something that is straight-up, pure horror.’” At the heart of the lycanthropic lunacy is Christopher Abbott, whose Blake returns to his childhood home in the Oregon wilderness, taking his family with him. But after he’s attacked by something in the night, he starts to transform into something more beast than man, placing his wife Charlotte (Julia Garner) and daughter Ginger (Matilda Firth) in serious peril. > > For Whannell, it’s another chance to reinvent one of cinema’s oldest horror properties – just like he did with his smart and seriously tense take on The Invisible Man. “I think of it as a companion piece to The Invisible Man,” he says. “I didn’t want this film to be a nostalgic or a retro Wolf Man film in any way.” And that meant coming up with all-new ideas of how to bring werewolf mythology to the big screen. “[I was] actually writing down in my notepad everything that’s been done, and then saying, ‘Okay, that’s the list of what not to do,’” he says. “I’m hoping that you go in and say, ‘Oh wow, I haven’t seen that werewolf movie before,’ when the lights come up.” We’re already howling at the moon in anticipation.

>Netflix has had a pretty good run with both original movies and the ones it has scooped up through licensing lately, and that trend continues with a new horror movie that has arrived at #2 on the charts for its debut.

>That would be Evil Dead Rise, what is the fifth film in the series which also includes a TV show that spanned three seasons, but is arguably one of its best entries, despite showing up so late in the game...

>Oddity—a critically acclaimed horror movie that only played in limited release in theaters—begins streaming on Shudder this week.

>The official synopsis for Oddity reads, “When Dani (Carolyn Bracken) is brutally murdered at the remote country house that she and her husband Ted (Gwilym Lee) are renovating, everyone suspects a patient from the local mental health institution, where Ted is a doctor. However, soon after the tragic killing, the suspect is found dead. A year later, Dani’s blind twin sister Darcy (Bracken), a self-proclaimed psychic and collector of cursed items, pays an unexpected visit to Ted and his new girlfriend, Yana (Caroline Menton). Convinced that there was more to her sister's murder than people know, Darcy has brought with her the most dangerous items from her cursed collection to help her exact revenge.”

cross-posted from: https://feddit.uk/post/17829450

> > Nick Frost is no stranger to horror comedies, having starred in such modern classics as Shaun of the Dead and Attack the Block. This year, the actor has already starred in Krazy House (review), and now he is reuniting with that film’s director Steffen Haars in Get Away, a frequently amusing folk horror comedy that relishes in bloodshed almost as much as it does cringe comedy. > > > > The Smith Family, comprised of patriarch Richard (Nick Frost), matriarch Susan (Aisling Bea), sister Jessie (Maisie Ayres) and brother Sam (Heartstopper‘s Sebastian Croft), is spending their holiday on Svälta, a fictional Swedish island with a dark past tied to Susan’s ancestor. Despite warnings not to from quite literally everyone they cross paths with along the way, the Smiths arrive on the island and are greeted with immediate hostility from the mainlanders, especially from the skeptical town elder (Anitta Suikkari), who is busy directing a play for their annual Karantan festival. Upon arriving at their AirBnb, the Smith family starts to notice strange occurrences happening on the island, as well as a few too many coffins being loaded onto boats at the harbor, leading to a comically violent fight for survival as Karantan draws near. > > IMDb

>Directed by Australian filmmakers Colin and Cameron Cairnes, Late Night with the Devil features David Dastmalchian in a standout role, offering a fresh take on the horror genre. This cleverly executed found-footage film blends authentic frights with witty moments, setting it apart from conventional horror flicks. Rather than focusing solely on viewing television, it delves into the intricacies of its creation. The story follows Jack Delroy, a rival of Johnny Carson, who hosts the late-night talk show Night Owls. Once a comforting presence for sleepless viewers, Jack’s show has seen a significant drop in ratings since the tragic passing of his wife. Desperate to regain his audience, Jack plans a groundbreaking Halloween special for October 31, 1977, unaware that this decision will unleash a sinister force into the homes of countless viewers...

>Horror buffs, the official trailer for The Curse of the Necklace has finally dropped, and we shared it above. This horror film is slated to be released in theaters on Friday, Sept. 27, 2024, followed by a digital release on Oct. 1.

>The horror flick is set in the '60s, and we follow the Davis family as they try to navigate through turbulent times. The matriarch, Laura Davis, has separated from her alcoholic cop husband Frank and returns to the workforce as a nurse, ultimately putting a strain on her relationships with her two daughters, 11-year-old Ellen and 16-year-old Judy.

>However, Frank wants Laura back, and his attempt at making this happen is by gifting her an antique necklace he found in an evidence bag at the police station. But this isn't just an old necklace. It's cursed with the tormented soul of an evil boy attached to it. With the cursed necklace now in the Davis family's possession, they soon find themselves in terrible danger from a malicious spirit...

>The horror genre has been around for such a large part of the history of film that it has historically been developed simultaneously with the medium itself. One of the most consistent and prominent genres, horror produces thousands of new horror films on an annual basis — this month alone sees the release of The Substance, Never Let Go, Speak No Evil, and many others. With so much competition, it's logical for many horror movies to fall out of the collective consciousness, slipping through the cinematic cracks.

>From obscure disasters of cinema such as The Theatre Bizarre to severely underappreciated cult classics such as Stir of Echoes, there is no shortage of lesser-known entries throughout the history of the horror genre. However, that doesn't make them any less worthwhile. In fact, many of horror's most underseen efforts are among its most accomplished, to the point of being the closest thing a movie can come to perfection. These underrated horror movies are pretty much perfect and deserve far more attention from fans...

> The horror comedy Ready or Not proved to be a major hit with genre audiences, which also offered star Samara Weaving her breakout role. The open-ended nature of the film's finale and the mythology teased at in the narrative have left fans wondering whether we could get a follow-up film that further explored this world. A sequel was announced earlier this year, and while it was assumed that Weaving would return, the actor confirmed she was "all in" on the upcoming project. While Ready or Not 2 doesn't yet have a release date, Weaving can next be seen in Azrael, which hits select theaters on September 27th and lands on Shudder on October 25th. > >While speaking with ComicBook in support of Azrael and when asked about the status of the Ready or Not sequel, Weaving confirmed, "I'm all in. I think we're all in, I don't know. I think we're all in. I don't know if we've had our blood handshake, but pretty much. We've done the spit handshake, but we haven't cut each other's hands and rubbed our blood together." > > ... > > The movie was directed by Tyler Gillett and Matt Bettinelli-Olpin, who have since directed Scream, Scream VI, and Abigail. Adam Robitel has reportedly been tapped to direct the sequel.