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)

>When asked to picture “body horror,” we conjure images that are best described as repulsive: growths of new appendages, spurts of pus and blood, dermatological mutation into some abject new form. But therein lies the beauty of the genre: What if you couldn’t distance yourself from something horrific, because it’s impossible to escape your own flesh and blood? If you find yourself in a body-horror film — perhaps you shared a ride in a teleportation pod with an insect, or were propositioned by transdimensional clergy to expand your kink horizons — you are probably in the process of losing agency over freaky stuff happening to your skin, organs, or tissue. If you’re lucky enough to just be watching some other poor sod fall victim to an inhuman metamorphosis, you are probably terrified that this could all happen to you. You also have a body, after all, and have just seen firsthand a few gruesome reasons to be very suspicious of it. But maybe, in both scenarios, you find something liberating in a new perception of your body, skin, or consciousness. Body horror doesn’t just see the body as a site of violation, but of fascination; filmmakers have for decades plumbed a tactile intimacy that attracts as much as it repels, and focusing on the tension between these impulses has given us the best, freakiest, strangest looks into these sacks of flesh we carry around with us...

>The classic short film that introduced Mickey Mouse to the world, 1928’s Steamboat Willie has officially entered the public domain, which means filmmakers don’t need the permission of Disney to use that original incarnation of Mickey in their horror movies. And a whole bunch of them are taking advantage, with a slew of twisted Mickey projects already in the works. > >The first of these features was The Mouse Trap, released just last month, with Screamboat headed our way sometime next year. And then there’s Mouseboat Massacre, coming soon. > >Additionally, Bloody Disgusting has exclusively learned that ITN Studios is getting set to unleash The Mouse Experiment, and they’ve provided us with the official poster today. > > Coming to VOD this Halloween season, “The film follows a group of friends stuck at a fairground amusement park hunted down by a mutated rat – STEAMBOAT WILLIE.” > >For the sake of clarity, this film is NOT part of the growing “Poohniverse.”

>“If it’s in a word, or it’s in a look, you can’t get rid of the Babadook,” goes the famous line in Jennifer Kent’s 2014 horror classic of that name. Ten years after its original release, though, The Babadook’s storybook rhyme needs updating: Today, it’s in sitcoms, reality TV competitions, and stop-motion sketch comedy shows, too. Like Amelia (Essie Davis) and her son, Samuel (Noah Wiseman), popular culture can’t get rid of the nattily-attired boogeyman; unlike mother and son, pop culture apparently likes keeping him around, if we go by the number of times he’s surfaced in unexpected places over the last decade.

>IFCFilms and ICONIC Events are re-releasing The Babadook to commemorate its 10th anniversary, two months ahead of its premiere in U.S. theaters; the movie debuted worldwide at the Sundance Film Festival’s 2014 edition, and did the rounds at other fests until its November opening. This is great news for the folks who missed the film at the time, comprising “most” on account of the scant number of screens it played on—a sign of the times, predating the horror new wave that crested later in the decade and continues to roll over the industry in 2024. To watch The Babadook now is to witness the seismic event that stirred the wave...

cross-posted from: https://feddit.uk/post/17641394

> >Haunted by a personal tragedy, home care worker, Shoo (Clare Monnelly) is sent to a remote village to care for an agoraphobic woman (Bríd Ní Neachtain) who fears the neighbours as much as she fears the Na Sídhe – sinister entities who she believes abducted her decades before. As the two develop a strangely deep connection, Shoo is consumed by the old woman’s paranoia, rituals, and superstitions, eventually leading her to confront the horrors from her own past...

>Three members of a black metal band ‘Invoking Yell’ venture into the woods to shoot a demo tape. What begins as a relatively innocent trip into the woods turns into a dark and satanic love letter. They hope to record paranormal phenomena as part of their album. The trio goes to unusual lengths to achieve this process and, as a result, tap into sinister forces. Invoking Yell is a found footage horror film that is slow to start but does find its footing to unleash a chill-inducing and downright creepy tale.

>The setting and story of Invoking Yell are confined and straightforward. Three members of a metal band, Ruth (Andrea Ozuljevich), Andrea (María Jesús Marcone), and Tania (Macarena Carrere), venture into the woods with the hopes of recording a phenomenon for their band. Right off the bat, thanks to the found-footage narrative, the movie creates an immediate claustrophobic intimacy. The deeper the characters venture into the woods, the more the feeling takes hold. While short on outright scares, the film excels at building tension through atmosphere in both sound and sight...

>Plot: On the eve of being ordained, three young priests, Paul (Austin Freeman), John (Charlie Prince) and Mark (Sam Sneary), are given one final test. They are surprised and question what the test could be but decide to ignore the warning. However, on their journey, they stumble upon a woman in need. She invites them into her home to help her possessed daughter by carrying out an exorcism.

>The three priests must deal with something unexpected as they are put through a series of trials. Each trial tests their faith as the men decide whether they are ready to graduate.

>Reviews: “This movie dives into religious connection right down to having the priests named John, Paul and Mark. It plays into the sensitive subjects revolving around how priests get ordained, almost like a hazing process. This becomes a very interesting concept and one which has surprises along the way. the best way to describe this movie is, a religious escape room.” Movie Reviews 101

>” …The Final Pact is an interesting film that plays out more as a supernatural drama than a fright flick. It benefits from some strong performances and interesting ideas. There isn’t much in the way of effects, but the cinematography, also by Rabbath, looks great and nicely frames the effects the budget allowed for. As long as you realize you’ll spend more time thinking than jumping out of your seat, you should enjoy the film.” ★★★½ Voices from the Balcony

>Fantastic Fest is fast approaching and that means a slew of new horror movies and interviews with their makers are coming your way! Last year’s fest happened during the SAG strike so there was no cast in attendance, but this year we’ll have cast and crew on the slab for you.

>It’s hard to narrow this list down to an arbitrary number because, more often than not, my favorite movies from the festival end up being the ones that were quite possibly not even on my radar before I sat in a darkened theater to be absolutely wowed by the unexpected. Last year’s When Evil Lurks was a prime example of this. That thing came out of nowhere to traumatize our minds and win our hearts. What will the big surprise be this year? Not knowing is half the fun. In the meantime, here are 16 new horror movies we can’t wait to watch with the Fantastic Fest audience...

> There's nothing that can beat a good horror performance. Usually, the attention and praise go to victims who overcome the threat of monsters and gather the necessary empathy to make viewers cheer for them. However, a good villain can have a performer solid enough to win over the hearts of audiences. > > In the case of the following performances, they stand out because they added an element of authenticity and sheer terror, regardless of how horror is seen in today's industry. The term is controversial, but they elevated the movies by personifying pure evil in films that were already scary. These are the ten perfect villain performances in modern horror.

1. Longlegs - Longlegs (2024)
2. Abigail - Abigail (2024)
3. Rose - Get Out (2017)
4. The Grabber - The Black Phone (2022)
5. Rose the Hat - Doctor Sleep (2019)
6. Ellie - Evil Dead Rise (2023)
7. Red - Us (2019)
8. Kevin Wendell Crumb (and Others) - Split (2016)
9. Pearl - Pearl (2022)
10. Chef Julian Slowik - The Menu (2022)

I know it's a bit late, but we are having another Friday the 13th in December if I am not mistaken. Also, never a bad time to watch movies. Do any of these look interesting to you guys, or have you already seen any of them?

> Doubling down on their point, Qualley finished Moore’s thought during a brief joint interview. “Demi is one of those people that makes you feel like you know her right away because she’s so warm and open and just so herself. It was an absolute pleasure working with her and being able to hold her hand while walking through the fire.” > >To find out what she means by fire, you’ll have to check out The Substance when it opens this weekend courtesy of Mubi. But on the subject of reveals, Fargeat was clear during her red carpet interview that she made sure to not leave any tricks up her sleeve when she pitched the movie to Moore a few years back. > > “I really wanted to be sure that she 100 percent understood the movie before jumping in,” explained the Revenge auteur. “I wanted her to know exactly the type of filmmaking it would be, the level of nudity that the part required, the conditions of shooting an indie film in France and the length of the production. I wanted to be sure that she had a very clear picture in her mind so that she could make the right decision for herself and for the film.” > > To her surprise, Moore agreed and Fargeat said she couldn’t have found a more collaborative and fearless partner on the film, which has screened at festivals in Cannes and Toronto ahead of its wide release. “I discovered someone that I didn’t knew before, someone who is very rock and roll, very instinctive, very risk taking and very innovating,” Fargeat praised of her leading lady. “She thinks out of the box, and more importantly, she has very strong instincts. And I think she felt like the film was something special, that it was something very new for her. But that could bring something very strong if it was succeeded to be good. > >Fargeat continued: “Demi just went for it. She said, ‘Let’s go.’ She doesn’t care anymore and is having an ‘I don’t give a fuck moment.'”

IMDb

> Warning: spoilers ahead! > > The Danish director of the original Speak No Evil has hit out at the new remake for rewriting the “entire ending”, saying: “I don’t know what it is about Americans”. > > Speak No Evil – which is an American remake of the 2022 Danish film of the same name – was released in cinemas on September 13. Written and directed by James Watkins (The Woman In Black, Eden Lake), the film stars James McAvoy, Mackenzie Davis, Aisling Franciosi and Scoot McNairy. > >Now, the director of the original, Christian Tafdrup, has criticised the film’s remake for a number of significant changes. > >The remake changes the nationalities of the families to British and American and Watkins has divided fans by completely changing the ending to the film.

And that is where I am leaving it until I've seen both. If you are discussing spoilers innyhe comments, please us the spoiler tags - ! in a triangle in the standard web interface.

> Like any major horror franchise worth its salt, A Nightmare on Elm Street has inspired a whole host of other movies, for better or for worse. Ever since the release of the first film to feature the dream-invading Freddy Krueger in 1984, the slasher genre was never the same, with an all-new breed of smack-talking supernatural horror villain now prowling theaters. The success of all nine Nightmare on Elm Street movies came amid a wave of imitators taking heavy inspiration from the original film. > >Movies that take ideas from A Nightmare on Elm Street vary wildly in their obviousness. Some of them recycle a similar concept of an astrally-projecting or nightmare-causing slasher villain like Freddy Krueger, or even simply the very theme of a dream and sleep-oriented horror story. Other times, the influence is less than a variation on a theme and more of a blatant copy, with motifs as specific as Freddy Krueger's signature fedora, melted face, or bladed glove being ripped off.

1. Hellmaster
2. Satan's Bed
3. Dreamaniac
4. Sleepstalker
5. Shocker
6. Dream Demon
7. Mahakaal
8. Wishmaster
9. Night Killer
10. Bad Dreams

> Writer-director JT Mollner shuffles the narrative deck with this macabre, ingenious serial-killer horror whose chapters are shown out of linear order. Each storytelling card is dealt with insolent provocation, a swaggeringly unhelpful contribution to the issues of sexual politics that we see male and female arresting officers debate at the very end. It recalls the look of movies made four or five decades ago; shot on 35mm film by actor turned cinematographer Giovanni Ribisi, it is a grisly shocker sporting with misogyny and the final-girl trope. There’s something of Tobe Hooper her, with an eerie “split diopter” camera shot in the manner of Brian De Palma (showing a looming face in closeup and an equally focused figure way behind) and a terrified woman at the wheel of a 1978 Ford Pinto (the car featured in the 1983 Stephen King chiller Cujo).

> Abbott shared his excitement about the film, focusing on the old-school techniques used to create the titular monster. “It was a lot of prosthetics, a lot of time in the prosthetics chair. We did it old-school style, which I appreciate,” Abbott revealed. The actor praised Arjen Tuiten, the designer behind the werewolf creature, noting the balance between beauty and horror. “I thought [he] designed a scary, beautiful, but tragic-looking creature for it. I’m really excited for people just to see that work,” he added, hinting at the emotional depth of the film. Abbott teased that Wolf Man is not just a standard horror flick but one with layers of fun, fear, and tragedy > > Keoghan chimed in, expressing his own admiration after watching the trailer, “It’s amazing. I just watched the trailer.” His enthusiasm for the project seemed to mirror Abbott’s excitement, adding to the anticipation building for Whannell’s next spooky feature.

Teaser

> Breaking Glass Pictures is releasing the horror comedy Hayride to Hell on the road to Halloween, and Bloody Disgusting is exclusively debuting the film’s official trailer today. > >Starring horror legends Bill Moseley and Kane Hodder, who previously worked together on Old 37, Hayride to Hell will be released on Digital and On Demand on September 24. > >Take a ride on the Hayride to Hell by watching the official trailer below. > > ... > > “Set on the Coxe Family Farm in rural Willis County, Farmer Sam (Bill Moseley) exacts his bloody revenge on unscrupulous local town-folk, including Sheriff Jubel (Kane Hodder), who menace him and attempt to steal the farm that has been in his family for 200 years.”

Trailer

IMDb

> Get ready for a full load of face-melting gory goodness when Cineverse/Bloody Disgusting/SCREAMBOX reboot the 1987 cult classic Street Trash alongside Vinegar Syndrome, set to have its Los Angeles Premiere at the New Beverly Cinema on October 17th at 7:30 PM. > >From director Ryan Kruger, whose first independent feature Fried Barry played dozens of film festivals worldwide, Street Trash follows a group of homeless misfits as they fight for survival when they discover a plot to exterminate every homeless person in the city. > >“Our reimagining of Street Trash takes place in Cape Town, South Africa where the growing divide between rich and poor has changed the world as we know it,” says Kruger. “I was a huge fan of the original Street Trash when I was a kid, and I couldn’t be more thrilled to introduce a whole new generation to the melted gonzo goodness that made the original such a classic.” > > ... > > “I’m excited to reinterpret the original story, update it to better reflect the times we live in and give it a new and original spin,” continued Kruger. “While our reimagining features new, exciting plot elements that give the film many bizarre twists and turns, the core of the film lies with our diverse and unique cast of characters. As a director, I am very character-centric and I can’t wait to see our strange and hilarious ensemble on screen together as they navigate the hostile streets of Cape Town. Our version of Street Trash will be raw, hilarious, packed with vibrant characters and multi-colored explosions of gooey greatness.” > >“The original Street Trash was known for its dark humor, over-the-top gore, and surreal visuals, and we know the film is in the right hands with Ryan Kruger to push this remake even further,” said Brad Miska, Managing Director of Bloody Disgusting/Cineverse. “It’s frightening how relevant the social commentary continues to be after all of these years.”

>The last time I remember really noticing Demi Moore in a movie was in Margin Call. The film was an excellent (and unfortunately still timely) portrait of the type of Wall Street backbiting and greed that precipitated the 2007 housing collapse. It’s also an ensemble where Moore stands out while still being positioned in support of male co-stars like Jeremy Irons and Kevin Spacey, one of whom scapegoats Moore’s character in her biggest scene. Before that film, it was The Joneses and Mr. Brooks, where Moore twice played “the wife,” which often is Hollywood code for the most underwritten character in a movie.

>I bring this up because not one of these pictures was released in the last 10 years. Two of them not even in the past 15. It’s a remarkably depressing thing, especially when one remembers Demi Moore was among the biggest stars of the ‘90s. And she radiates still, ferociously so, when given the chance. Well, Coralie Fargeat just provided her a great one in The Substance, the most original, and pitiless, horror movie I’ve seen this year...

> If Neil Marshall’s 2019 Hellboy had you seeing red, then this rendition by director/co-writer Brian Taylor (Crank, Mom and Dad, Brave New World) will come as something of a relief. It’s the closest big-screen version yet to Dark Horse Comics’ shorn-horn superhero – creator Mike Mignola had a sizeable hand (ahem) in penning the screenplay – and favours gruff ‘n’ rough over the poetry of Guillermo del Toro’s lovingly crafted noughties movies (2004’s Hellboy, 2008’s Hellboy: The Golden Army).

> “That was never going to work for Tim,” Abdy said about making the “Beetlejuice” sequel for streaming. “You’re talking about a visionary artist whose films demand to be seen on a big screen.” > >The big issue between Burton and the studio was that the projected budget for “Beetlejuice Beetlejuice” at one point was around $147 million, largely due to “star salaries and producer fees.” That’s when De Luca and Abdy approached Burton and said he could make the sequel for an exclusive theatrical release as long as he got the budget down below the $100 million mark. They worked together to greenlight “Beetlejuice Beetlejuice” for $99 million, with Burton and cast members Michael Keaton, Winona Ryder, Jenna Ortega and Catherine O’Hara agreeing to less money up front but sizable back end deals that will now surely pay off since the sequel is a box office hit.

>While some audiences may view PG-13 horror movies as restrained, unable to let loose for full-on frights, the best supernatural movies in this category rely on technical competence and premise development to secure the scares. The paranormal plots of the genre invite audiences to imagine a reality where occult creatures exist behind a veil only revealed under the most dire of circumstances. From hauntings to taxing psychological what-ifs, the best PG-13 supernatural movies allow audiences to focus on the unsettling atmosphere and tension-building sequences instead of the overwhelming violence and gore found in their R-rated counterparts.

>The skepticism of the paranormal put in competition with the intrigue of possibility makes for an intoxicating and enticing watch that ultimately goes home with the viewers versus slasher or body horror movies where the frights are left onscreen instead of attaching to their reality. Whether adapted from source material or a franchise continuation, the supernatural films in this canon operate so successfully within their limits that the rating is secondary...

cross-posted from: https://feddit.uk/post/17500949

> > In a commentary track on Frankenhooker's DVD release with Frank Henenlotter (co-writer/director) and James Lorinz (actor), the problems the movie faced when going up against the MPAA were brought up. Henenlotter recalled a phone call with Richard Heffner who told him “Congratulations, you are the first film rated ‘S,’” When asked what that meant, he was told that 'S' stood for "sh*t." Henenlotter expressed that he was deeply hurt at the time, feeling that it was not their place to provide commentary on what they felt about the movie. This started a feud over the rating of the movie, and producer James Glickenhaus made it publicly known that he was fighting back. > > > > The movie eventually got an X rating (which was in use before being phased out the same year, 1990, in favor of NC-17). Henenlotter and his team refused the rating and released the film uncut and unrated, which came with its own problems with distribution. Frankenhooker would eventually gain an R rating when they cut some of the scene of exploding sex workers to six minutes from its original seven; again reflecting how petty and shallow the MPAA can be in their decisions. > > > > ... > > > > Frankehooker, along with Henenlotter's Basketcase and Brain Damage, have earned a substantial cult following. It is easy to see why, with all the movies blending dark humor chocked with memorable lines of dialogue, gore-soaked horror, and over-the-top creature effects. For Frankenhooker, you have the wonderfully charismatic Patty Mullen as the titular monster roaming the streets of New York asking random strangers if they "Wanna date?" There is also the infamous scene where multiple sex workers blow up after taking "super crack." To name but a few of the scenes that have made Frankenhooker a fan favorite.

>There are so many try-hard reboots and hollow sequels in horror that it can be hard to remember that some legacy properties can (and should) be properly dusted off. In that spirit, Vulture has compiled a list of scary-movie remakes that are truly worth your time: thrill rides that improved upon their source material, matched wits with the classics that came before them, or, in a few cases, nobly committed to turning bad first movies into highly entertaining second efforts. From alien parasites lurking in Antarctic research facilities to girls getting picked off on sorority row, here are the horror remakes that will make you glad Hollywood took a second stab at...

> Dismissively tarred with the derisive label “torture porn” in the wake of its mainstream boom in the 2000s, torture-horror is in fact one of the most compelling and provocative horror subgenres. Although its roots date back much further, the subgenre gained notoriety after the 2004 launch of the immensely popular Saw franchise, with many subsequent horror films continuing its bloody legacy. > > Exploring the limits of what the human body can endure, as well as themes of gender, power and political unrest, torture-horror is able to provide gruesome scares and compelling stories. These are 10 of the very best torture-horror films, showcasing the strengths of the surprisingly varied subgenre.

1. 'Martyrs' (2008)
2. 'The Devil’s Rejects' (2005)
3. 'Saw' (2004)
4. 'Calvaire' (2004)
5. 'The Loved Ones' (2009)
6. 'Hostel' (2005)
7. 'Hard Candy' (2005)
8. 'Eden Lake' (2008)
9. 'Wolf Creek' (2005)
10. 'Saw VI' (2009)

>A party game turns into a supernatural nightmare in the upcoming supernatural horror movie Spin the Bottle, featuring Justin Long (Barbarian) as the local authority savvy to the paranormal. Paramount has debuted the new trailer today, giving a closer look at the haunted rules.

>The film’s official synopsis: “When a group of friends plays spin the bottle in a house marked by a brutal massacre, they unknowingly unleash an evil spirit and start dying in terrifying ways. Now, the survivors must stick together to uncover the house’s dark secrets and end the bloodshed.”

cross-posted from: https://feddit.uk/post/17609883

> > Director Max Minghella (Spiral: From the Book of Saw, Horns) wears his cinematic influences on his sleeves with sophomore feature effort Shell, a body horror dark comedy written by Jack Stanley (The Passenger). > > > > Elisabeth Moss (The Invisible Man) finds herself embarking on a scary new beauty treatment as aging actor Samantha Lake. She quickly befriends Zoe Shannon (Kate Hudson), CEO of health & wellness company Shell. When their patients start to go missing, including starlet Chloe Benson (Kaia Gerber), Samantha realizes Shell may be protecting a monstrous secret. > > > >The escapist love letter to ’90s cinema leans into dark comedy, but embraces everything from Paul Verhoeven to Soapdish, Species, and Sliver, if that’s any indicator of genre range here. Bloody Disgusting spoke with Minghella, who made his feature directorial debut with 2018’s Teen Spirit, about the genre-bender out of TIFF, where the film had its World Premiere.

> The 2010s were a good decade for horror, producing some of the genre's most innovative and boundary-pushing movies. The genre was revitalized with a resurgence in both quality and creativity. However, a handful of horror gems flew under the radar and didn't receive the appreciation they deserved. > > This list highlights the 10 most underrated R-Rated horror movies. From the chilling internet scares of Unfriended: Dark Web to the claustrophobic terror of Green Room, where a punk band fights for survival against a group of neo-Nazis, these movies show the diversity, depth, creativity and quality of 2010s horror.

1. 'Demon' (2015)
2. 'Green Room' (2015)
3. 'We Are What We Are' (2013)
4. 'The Loved Ones' (2010)
5. 'The Autopsy of Jane Doe' (2016)
6. 'It Comes at Night' (2017)
7. 'Better Watch Out' (2016)
8. 'Let Me In' (2010)
9. 'Unfriended: Dark Web' (2018)
10. 'The Girl With All the Gifts' (2017)

A video from the YouTube channel 'Accented Cinema'.

The three movies are

• 'Tigers are not afraid' (2017) from Mexico
• 'The Maid' (2005) from Singapore
• 'Tumbbad' (2018) from India

I haven't watched the movies yet, but I'll hopefully get to watch them soon :)

I've seen some of the other movies he recommends, and I think the movies should be worth checking out ^^

Which other non-american horror movies are worth checking out ? :))

>If you're a horror fan, you're familiar with Blumhouse Productions (cited as Blumhouse from here out). Even if you're not a horror fan, you've probably watched a Blumhouse film without knowing it ("Whiplash?" "Jem and the Holograms?" "Tooth Fairy?"). Jason Blum's nightmare factory is synonymous with today's mainstream horror pillars, securing the rights to everything from "Halloween" to "The Exorcist" and beyond. Indeed, it's impossible to banter about our contemporary horror era without acknowledging how prevalent and prodigious Blumhouse has become — so why does it feel like it's ghosting us this year?

>Blumhouse decimated last year's horror movie market. In 2023, Blum's juggernaut scared up nearly $800 million worldwide in box office totals. Emma Tammi's video game adaptation "Five Nights at Freddy's" boasted a high score of $297 million on a $20 million budget — one of nine films released by Blumhouse. Now, there's no metric for reporting for streaming titles like "Totally Killer" (Prime Video) or "The Passenger (MGM+), so that $800 million-ish haul only considers "Five Nights at Freddy's," "The Exorcist: Believer," "Insidious: The Red Door," and "M3GAN." Anywhere you looked, whether in theaters or on multiple streaming platforms, Blumhouse was crushing the competition.

>How about 2024? It's like night and day.

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

> According to The Numbers, The Crow debuted in 2,752 North American venues on August 23 and ended its theatrical run on September 12 with a gross of $9,528 from 297 locations. During its domestic run, The Crow grossed nearly $9.3 million domestically and $6.2 million internationally for a worldwide tally of $15.5 million. > > According to Variety, The Crow had a $50 million production budget before prints and advertising. > >The Crow made its digital streaming debut via premium video on demand on September 13, a day after the film ended its theatrical run.

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)

cross-posted from: https://feddit.uk/post/17591052

> > This year marks the 50th anniversary of Tobe Hooper’s horror classic The Texas Chain Saw Massacre, and Dark Sky Films is celebrating with a massive new physical media set. > > > > Now available for pre-order, The Texas Chain Saw Massacre: 50th Anniversary Chainsaw Edition includes the 4K UHD edition of the feature film, Blu-ray edition of the feature film, Blu-ray bonus disc, and an exclusive VHS release featuring original VHS release artwork! > > > >Dark Sky further previews, “All are housed in a replica of the iconic chain saw from the film, which comes in a special 50th Anniversary numbered box. Opening the chainsaw triggers the sound of Leatherface wielding the chainsaw in the film.” > > > >This limited edition also features a newly designed 50th Anniversary O-card and brand-new bonus content, including The Merchandise of The Texas Chain Saw Massacre and The Restoration of The Texas Chain Saw Massacre. > > > > ... > > > > Pre-order your copy over on Dark Sky’s website for $299.98 today. > > > >The ‘Chainsaw Edition’ set will be released on October 1, 2024

cross-posted from: https://feddit.uk/post/17298187

> > Fresh off the film’s premiere at Sundance earlier this year, Netflix opened up their check book and shelled out a whopping $17 million to acquire worldwide rights to It’s What’s Inside, and the streaming service has released the upcoming movie’s official trailer this morning. > > > > It’s What’s Inside premieres globally on Netflix on October 4, 2024. > > > >Begin the twisted party game by watching the It’s What’s Inside official trailer below. > > Trailer > > > Meagan Navarro writes in her Sundance review for BD, “Its irreverent tone and Jardin’s visual eye ensure a highly entertaining time, though it becomes prone to tangled knots.” > > > >“The director pulls from his music video background for a vivacious, eye-catching feature that dazzles and lures you further into the tangled abyss, even as many of its central players frustrate,” Meagan continues. “Even still, It’s What’s Inside is pure fun. Moreover, it’s extremely funny. Jardin assembles an ensemble willing to push their frequently and intentionally insufferable characters past the point of insanity for our entertainment. On that front, Jardin’s debut is a stunning success. It’s a twisty puzzle box that demands your attention.” > > > > Meagan adds, “Not all the pieces fully come together, but Jardin’s ambitious debut will easily earn a devout following for its creative setup and commitment to bonkers fun.” > > IMDb

> McAvoy is the most compelling reason to see this one. The original may be darker, but it didn’t have McAvoy. He’s able to project the kind of careless bonhomie that initially seems to indicate fundamental decency lying beneath the edgy jokes – but by the time Ben and Louise start to realise that he is also missing a few fundamental components of humanity they are in too deep. In fact McAvoy’s performance is a neat nod to everything you’ve ever heard about the geniality and easy charm of Ted Bundy and his ilk; it’s true that manners don’t cost anything, but they also guarantee nothing.

> Sometimes a movie can be a best horror movie you never saw candidate but there are other instances where a movie has been seen and talked about but altogether lost to time. Richard Stanley has had a long career in terms of time he has been active but a very small amount of output in terms of actual number of projects. While the saga of his journey to direct the big budget remake of The Island of Doctor Moreau and subsequent firing has been widely captured in the documentary Lost Soul and his latest success with The Color Out of Space was highly regarded but tinged with controversial allegations, he had a couple of gems before all that. Dust Devil, his sophomore effort, still very much so belongs in the Best Horror You Never Saw category and I will get to that one too, but Hardware (pick up a copy at THIS LINK) is such a unique animal that I had the urge to revisit and remember why I dug it all those years ago. > > ... > > The movie was called derivative of things like Alien and Terminator for obvious reasons. The central robot stalker could be right out of Skynet’s early arsenal to go after John Connor and the isolation and claustrophobia the seethes into almost every scene after the first 20 minutes wears it’s inspiration of fleeing the xenomorph on its futuristic sleeve. Going beyond that though, the movie had more inspiration to it whether it was intentional or not. While its admitted and direct inspirations were from the works of Philip K Dick, Damnation Alley, and Soylent Green, it bared a little too much resemblance to a comic called SHOCK that appeared in the weekly British sci fi comic 2000 AD in 1980. The creators sued and were successful enough to not only get the writer’s credit but also get a little based on blurb in later releases of the movie. Think Terminator having to acknowledge the great Harlan Ellison and his story Soldier from Tomorrow. > > ... > > Hardware is a great time and it’s a shame that it isn’t easier to find. Sure, you can get a used copy of that Severin disc that I talked about but $100 can be a hard pill to swallow even if the thing was brand new. It’s possible that we could get a future physical release, or you could always import a copy from another region if you have the means and, if you’ll excuse me, Hardware but for now I’d say if you can catch it somewhere then consider yourself lucky. It’s the type of movie that rarely gets made anymore and while that’s a bummer, it’s nice to know these still exist and maybe inspire filmmakers in the future.

> The new horror and science fiction anthology, “Deepest, Darkest,” has added yet another cast mate to its already stellar lineup of genre heavyweights. > >Rahul Kohli, a beloved member of Mike Flanagan’s Flanaverse (“The Haunting of Bly Manor,” “The Fall of the House of Usher”) and essential teammate in the crime-solving “iZombie” series, has officially joined the star-studded cast of “Deepest, Darkest,” a new horror anthology from writer and director Marc Bernardin and actor Tiffany Smith. > > ... > > Kohli joins the previously announced cast of Smith (“Guardians of the Galaxy Vol. 3”), Rosario Dawson (“The Mandalorian,” “Ahsoka”), Ernie Hudson (“Ghostbusters”), Yetide Badaki (“American Gods”), Phil LaMarr (“Futurama,” “Samurai Jack”) and “Quantum Leap” stars Raymond Lee and Caitlin Bassett. > > ... > > The anthology promises a genre-blending mix of horror, dark comedy, suspense and sci-fi, with a pitch that reads: “Have you ever had a secret? One so big, so awful, so horrifically extreme that you had no choice but to keep it to yourself? Something that if anyone else knew, that revelation would shift your world on its axis? What if there was someone whose job it was to listen to those secrets — because she could never remember them? What would you pay for absolution?” > > ... > > The film is currently raising funds through a Kickstarter campaign, which has raised $128,000 toward its $250,000 goal. “Kickstarter is always a gamble,” says Bernardin. “But I believe there’s an audience out there that might embrace a collection of cinematic short stories that aim to thrill and scare and provoke while also celebrating voices who don’t often get to be at the center of narratives like this.”

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)