Creep Does Found Footage Horror The Right Way | Screen Rant

In 2014, Blumhouse Productions brought Creep into the world and proved just how good the found footage genre can be when each aspect takes a measured approach.

Found footage horror has a tendency to rely on shaky camera work, jump scares, and minimalistic aspects. Movies like Paranormal Activity, which was also produced by Blumhouse, made a killing on its “less is more” approach and showed that a stagnant angle of a bedroom could build tension and keep the audience on edge. Creep, starring Mark Duplass, took a different approach. Director Patrick Brice decided to showcase the human condition in his slow-burn tale of a man named Aaron (Brice) who is hired by a man named Josef (Duplass) to do work for him as a videographer.

Related: Mark Duplass And Patrick Brice Discuss Their Craigslist Nightmare ‘Creep’

Though Josef’s intentions seem harmless at first, Aaron quickly discovers that the ad he answers might not be what it seems, and the man he’s been getting to know is far more dangerous than his placid exterior suggests. The premise might seem more like an episode of Criminal Minds, but as a found footage film, Creep really works.

For Creep, Mark Duplass – who also co-wrote the script – was inspired by character-driven tales like Misery and Fatal Attraction. Both of these films also rely on simplicity and strong acting, which isn’t commonly seen in found footage horror films. Typically, found footage is more about what the audience can see through the camera lens and allows viewers to experience the environment through a secondary angle and focus on the background. In films like Cloverfield, it’s meant to build tension and heighten the chaos of a city being invaded by a monster in a more personal way, as opposed to high-action movies like Godzilla, which showcases the theme differently.

Found footage movies that take a more paranormal theme, such as The Blair Witch Project, employ jump scares and shocking imagery that lingers just slightly out of frame, forcing the audience to look closely before the camera is descended upon by who – or what-  poses the primary threat to the movie’s characters. Creep plays out like a more personal narrative; it’s a video diary, of sorts, as this is Josef’s intention to hire Aaron. In the beginning of the film, Josef explains that he has cancer and wants to record a video for his unborn son so he’ll have something to remember his father by. It’s endearing, and almost adds a sympathetic aspect to a man who becomes increasingly strange and odd, particularly in the way he behaves with Aaron, which makes the plot become all the more unsettling as more is revealed.

Creep takes an untraditional route for found footage that doesn’t rely on anything supernatural, doesn’t lean on jump scares, and instead wraps the audience up in a good story which leaves them helpless when things take a turn for the worse. Like Misery, its focus on characterization and realism makes the brutality and terror even more unsettling because a ‘normal’ person is the film’s real threat. Currently, Creep has an 89% rating on Rotten Tomatoes and sparked a sequel in 2017, Creep 2. The sequel managed what many other horror sequels can’t, and improved on the original, earning a 100% rating on Rotten Tomatoes. Patrick Brice announced in 2017 that a third installment was in the works.

Next: Horror Movies Make More Profit – Here’s Why

2020-01-18 01:01:44

Jack Wilhelmi

Le Manoir du Diable: 10 Reasons To Watch The World’s First Horror Movie

During the early days of filmmaking, it was French directors who constantly tested the capabilities of the early cameras as they discovered new ways to tell stories. Le Manoir du Diable is a film from 1896 that often slips through the cracks during general film studies courses, but cinephiles know it as the world’s first horror film.

RELATED: 10 Great Indie Horror Films From 2019 You Missed

While fans might skip this film on account of more modern horror classics like The Shining or Twin PeaksLe Manoir du Diable definitely deserves a viewing from every horror movie junkie.

10 The First Vampire Film?

While it’s widely been attributed as the first horror film, many viewers have disagreed with this claim, given that its intent was to amuse people rather than traumatize them. When the Devil makes his first appearance in this film, he transforms from a bat to a man, a trope that has more to do with vampires than it does devils and demons. This has led other viewers to attribute Le Manoir du Diable as the first vampire film.

9 Features Established Horror Motifs

A good horror film contains many recognizable horror motifs, borrowed from the films that came before it. But considering the fact that Le Manoir du Diable is the world’s first horror film, it wouldn’t be a stretch to say that it has played a huge role in establishing many of these motifs in the first place.

Fans of horror will immediately recognize many common tropes, such as a damsel in distress, devious illusions, ghosts, impish figures, magic, and a spooky castle, not to mention the devil himself. While giving this film a watch, you won’t believe just how many horror motifs have been crammed into such a tiny package.

8 Hold The Nightmares

While many moviegoers avoid horror films altogether due to the possibility of experiencing nightmares after sitting through an entire viewing, this 1896 film was actually made to engross audiences into a narrative, and the director had no intention of inducing paranoia on the viewer. In fact, Le Manoir du Diable may even appear somewhat comical rather than scary to audiences of today.

RELATED: 10 Most Underrated Horror Films From The Past 5 Years

7 It Isn’t Long At All

The most common excuse for not watching critically acclaimed films is that there just aren’t enough hours in the day to get the job done. Fortunately, Le Manoir du Diable is no The Irishman. This film is just over three and a half minutes, meaning you could watch literally watch the entire thing twice and still make it to work on time.

6 It Was Different For Its Time

During the early days of cinema, anything beyond a simple video clip that wasn’t just a few seconds long was considered truly innovative due to how difficult it was to shoot and edit film in the first place.

Not only did Le Manoir du Diable attempt to tell an actual narrative rather than just showing real people going about their daily lives while being recorded, but this marked an attempt to truly bewilder the audience, depicting a world that differed from their own. Audiences were given a clear antagonist, protagonists, a beginning, and an end, and although this is pretty much standard for today’s films, back in 1896, this was truly revolutionary.

5 Creative Special Effects

It wasn’t only the length and subject matter of Le Manoir du Diable that were truly inventive, but also the special effects that were used in the film. They’re nowhere close to the CGI that is used today, but for a movie made in 1896, we’re amazed that Georges Méliès was able to cut between clips so close that it looks like characters are not only changing form (most notably a bat changes into the Devil and a young beautiful woman turns into an old hag in an instant), but ghosts and other figures constantly appear and disappear.

RELATED: 10 Of The Scariest Short Horror Films You Can Go Watch On YouTube Right Now

Not only were these effects innovative for their time, but it truly makes one appreciate just how far the art of cinematography has come.

4 A Chance To See Foreign Styles Of Dress From Over A Century Ago

Today, North Americans probably won’t be shocked to find out that French people don’t dress all that different from them. While Le Manoir du Diable isn’t exactly a fashion show, its characters do adorn some truly memorable garb, from the Devil and his tights and dark-colored cape, to the uniforms worn by the two cavaliers who arrive to put a stop to his antics.

While these outfits might look silly, even to people in 1896, it is pretty cool to see just what kinds of costumes were deemed appropriate for this kind of film over a century ago. These early films can even serve as a reference point when filmmakers are choosing how to dress their heroes and villains for their latest historical dramas.

3 Made By Georges Méliès

Georges Méliès was a French film director who’s played a vital role in the development of cinematography as an art form. His 1902 film A Trip to the Moon is one of early cinema’s most venerated titles. It was even named one of the 100 greatest films of the 20th century by the Village Voice. After watching this film, along with Le Manoir du Diable, it’s clear that Méliès has a passion for narrative storytelling that not only draws viewers into a fictional world, but reminds audiences of the best (and worst) parts of the world they live in.

Le Manoir du Diable was filmed when Méliès himself didn’t have access to a studio, so he had to film it in his garden with painted canvas used for the background. Many fans have also made several efforts to make it known that the woman in the film, Jehanne d’Alcy, was a successful theatre actress who later became Méliès’ second wife.

2 It Was Almost Gone For Good

It’s always amazing when films from cinema’s humble beginnings have survived the test of time so that audiences of today can still appreciate them. Given that it’s such an old film, it’s understandable that Le Manoir du Diable could get lost, destroyed, or even forgotten about.

RELATED: 10 Classic Horror Films Every Fan Must Own

It was actually considered lost until 1988, when a single copy was found in a junk shop in Christchurch, New Zealand. While this film will definitely be around for years to come, cinephiles everywhere should watch it in honor of those who couldn’t for the century it was deemed missing.

1 A Happy Ending…

Many people steer clear of horror films for a variety of reasons, with one being that these films never really have happy endings. Even if the monster is defeated, the demon is exorcised, or the scary dancing clown is finally destroyed, the amount of terror and devastation that occurred from beginning to end usually cannot be undone, leaving the surviving characters with a darker reality.

Viewers can rest easy knowing that despite being considered a horror film, Le Manoir du Diable‘s ending, while it might feel incomplete, showcases good triumphing over evil. The cavaliers successfully fend off the Devil, with the added bonus that none of the them die in the process.

NEXT: 10 Best Horror Films That Don’t Have Happy Endings

2020-01-18 01:01:33

Lavell Nero

Why More Horror Movies In 2020 Are PG-13 | Screen Rant

2020 horror movies have been going strong in the early months of the year with some major releases, but a noticeable trend has been carrying through with the majority: most share a PG-13 rating.

Though the first release of the year, The Grudge, was rated R, the ones to follow – and many that are yet to release – have been slapped with the lesser rating. Even toward the end of 2019, this trend continued with Blumhouse’s teen slasher, Black Christmas, being PG-13 despite both other iterations being rated R. The Kristen Stewart led Underwater was reminiscent of Ridley Scott’s claustrophobic 1979 sci-fi/horror classic, Alien, but pulled away from the truly visceral realms of terror instead of going for the gut.

Related: Every Horror Movie Confirmed For 2020 Release Date

While The Grudge was certainly the more harshly criticized of the two 2020 horror movies so far, one of the stronger facets of it was that it brought violence where supernatural horror typically does not. Director Nicolas Pesce might not have been able to fully capitalize on what worked with the franchise’s PG-13 counterparts, but he provided some disturbing imagery and violence that pushed boundaries in a genre that is slowly becoming known for sanitized scares and restraint.

A PG-13 rating does not immediately mean a horror movie will be less effective. The choice to aspire to a lesser rating is, often, for a chance at a wider (and younger) audience. However, not all horror sub-genres work well with a PG-13 rating. Supernatural and paranormal horror films can typically get away with a PG-13 rating without sacrificing anything that makes them effective. As they rely more on jump scares, they can be reasonably bloodless and still manage to terrify. Slasher films usually bank on blood and nudity, which is prominently featured in franchises like Friday the 13th. Though it could be argued that John Carpenter’s 1978 Halloween was also bloodless, its restraint was part of the film’s overall tone, but the franchise has evolved with time. The 2018 Halloween showed more gore, brutality, and a completely uncaged Michael Myers, which was a smart decision.

While this isn’t to say that horror movies should all take note from the early and mid-2000s “torture porn” films like Saw and Hostel, the former franchise has been a long-running success for a reason. As a new decade gets underway, it’s interesting to see the tone that will be set, and is already being set by upcoming releases. The Turning, a supernatural horror film based on the Henry James novel, The Turn of the Screw, is from the Victorian era, despite the film being set in the ’90s. Its PG-13 rating is sensible, and the updated setting an intriguing take. Ari Aster’s 2019 folk horror, Midsommar, set a high bar, yet Gretel & Hansel, which appears to take a page from Aster and Robert Eggers (The Witch) adapts what is arguably one of the Brothers Grimm’s darkest fairy tales about a cannibalistic witch who preys on children and makes it PG-13.

Brahms: The Boy 2 got its expected rating, but being rated R has worked for franchises like Annabelle, so even though Brahms isn’t the traditional “haunted doll”, it might be worth considering. Blumhouse’s Fantasy Island got a PG-13 rating, but appears like a slasher film with deep-seated, mysterious danger on a tropical island. Though the original TV series wasn’t horror, it posed a neat opportunity to resurrect the style of ’90s ensemble slashers like I Know What You Did Last Summer. Leigh Whannell’s take on The Invisible Manalso from Blumhouse, received an R rating for “strong bloody violence”, which works well with its story update that recreates the character as a violent sociopath. A Quiet Place 2 will likely get a PG-13 rating, though as of this writing, that has not been announced. 2020 horror movies will likely be a mix, but nowadays, the genre seems to target a wider audience instead of sticking with what might scare them the most.

Next: Most Anticipated Horror Movies Coming In 2020

2020-01-17 01:01:24

Jack Wilhelmi

10 Must-See Giallo-Style Horror Films | ScreenRant

Giallo is a genre that not even a lot of people who would consider themselves horror aficionados are familiar with. It’s a fairly obscure type of Italian movie that starts to drift pretty much into slasher-film territory, even though they aren’t strictly slashers. While Giallo movies and slashers are definitely two distinct movements, they do share their similarities. Giallo usually features a masked killer who’s generally in a black raincoat with his identity concealed until the end of the film, who usually kills predominantly women, although this isn’t always the case.

RELATED: 10 Best Serial Killer Movies From The 70s

The reason the killer’s identity is hidden is that these movies are based on a special type of crime novel that was popular leading up into the 70s, where Giallo films really became popular. In fact, the word Giallo itself is the Italian word for “yellow”, which is the color of the paperbacks that were commonly sold that served as the inspiration for these movies, sometimes specifically being adapted into Giallo films. Let’s take a look at some entries into the genre that you definitely aren’t going to want to pass up.

10 The Girl Who Knew Too Much

The Girl Who Knew Too Much is considered by many to be the very first Giallo film ever to hit theaters, and it was the beginning of a very lucrative career in the genre for filmmaker Mario Bava, who to this day is known as one of the most respected Giallo directors in history. The film was released in 1963, which may come as a shock to anyone familiar with Giallo who somehow hasn’t seen this film. It follows the story of a girl traveling to Rome who witnesses a murder. The police don’t believe her until she begins witnessing a whole string of them, all of the victims being chosen in alphabetical order.

9 The Bird With The Crystal Plumage

A film by one of the masters of Giallo Dario Argento, The Bird With The Crystal Plumage came out in 1970 to make double the cost of its production in the box office at 1,000,000 USD. It takes a lot of cues from a book called The Screaming Mimi, which had also been made into a film by Hollywood. When an American writer named Sam takes a vacation to Rome, he sees the attack and murder of a young woman at an art gallery. The authorities presume that the attacker was a serial killer targeting and murdering young women. Of course, Sam gets caught up in the investigation and begins to receive threatening phone calls.

8 A Bay Of Blood

A Bay Of Blood, a film by Mario Bava (that’s known by entirely too many names such as Twitch Of The Death Nerve, Carnage, or Blood Bath) was released in 1971. Along with Black Christmas, this film is often listed as perhaps having all of the ingredients to make a slasher film, and when we look at the plot, it appears strikingly similar to something like Friday The 13th, at least in setting anyway.

RELATED: 10 Most Underrated Slasher Movies

It deals with murders that happen surrounding the bay the film is named after. There’s a huge emphasis in this film on graphic violence, more so than in many Giallo films, and it’s widely considered to be Bava’s most violent.

7 Your Vice Is A Locked Room And Only I Have The Key

Your Vice Is A Locked Room And Only I Have The Key is a film directed by Sergio Martino and released in 1972. It also takes a lot of elements from gothic horror author Edgar Allen Poe’s short story The Black Cat. The film tells the story of an isolated couple who entertains guests to keep themselves occupied. Oliviero, the husband in the couple, frequently abuses his wife, which causes suspicion when a local woman dies. The next day, Oliviero finds their maid dead and hides her corpse to make sure that no one is too quick to accuse him. As the suspicion mounts, double-crosses are made, new details are revealed, and more and more bodies pile up.

6 Suspiria

The beginning of Dario Argento’s witch-themed trilogy, and arguably the best part of the said trilogy, is Suspiria. Not the one that came out in 2018, which even if it did stray from the basic framework Argento put in place, was an incredible film, but no, Suspiria from 1977. It tells the story of a young dancer who visits a dancing academy after hearing that it’s one of the most prestigious places of learning for dancers in the world. After she gets there one night and has a rather strange encounter, she returns and won’t take no for an answer. Once she starts her studies there, she realizes her friend is acting strange.

RELATED: 5 Slasher Movie Cliches We Miss (& 5 That We Don’t)

She’s speaking of disappearances and witches and some sort of grand conspiracy so she decides to investigate. While some people will say that this film isn’t exactly Giallo since it’s supernatural, it’s the first thought for a lot of people and should definitely be looked into.

5 What Have You Done To Solange?

This film is really well respected in the Giallo community, and it holds a pretty high score in most of it’s reviews. While there’s a certain amount of sex-appeal that goes into every Giallo film since that’s apparently an important part of what makes a Giallo film a Giallo film, this movie just kind of commits to that and sets it in an all-girl Catholic school. While the unapologetic sexuality of the film might not be in everyone’s wheelhouse, it’s still worth a watch.

4 All The Colors Of The Dark

All The Colors Of The Dark is a film from 1972, directed by Sergio Martino. Now, while Giallo films are all known for having quite a psychedelic, hallucinogenic type of feel to them, this movie takes it to the extreme, eventually completely blurring the line between fantasy and reality. Jane is worried about a nightmare that she’s been having. She’s had a hard life, and saw her mother die. What do her friends recommend to her? Medication? Tried it, didn’t work. Therapy? Tried it… Didn’t work. A black mass to share praise for Satan himself? Perfect. Except that this is when her troubles really begin.

3  Don’t Torture A Duckling

One important thing to get out of the way before talking about this film is that it’s graphic. It’s not for the squeamish or the faint of heart, but that being said that isn’t a challenge. It deals with extremely graphic subject matter, and if you have any psychological triggers due to trauma, this film should probably be avoided.

RELATED: 10 Scariest Slasher Movies To Never Watch Alone, Ranked

That being said, if you’re still interested, it also provides a good commentary on the sexuality of the Catholic church. The film tells us about a detective who’s investigating a rash of child murders in an extremely superstitious town, and is the first of important Italian director Lucio Fulci’s films to start experimenting with gore.

2 Deep Red

Deep Red is yet another entry on this list by Dario Argento. It came out in the year 1975, and as we neglected to mention Suspiria‘s “killer” (hehe) soundtrack, we should probably give the band Goblin their due here. They’re an insanely cool psychedelic progressive rock band who’s collaborated with Argento frequently, specifically on Deep Red and Suspiria. Dark Red stars your normal Giallo killer clad in black gloves, only this time he’s being investigated by a medium and a piano player. This film has inspired both David Cronenberg’s film Scanners and Halloween II.

1 Lizard In A Woman’s Skin

A Lizard In A Woman’s Skin is another film on this list by Lucio Fulci, being released in 1971. While Giallo films usually have pretty interesting plots, this one is absolutely wild. It follows the story of a girl who begins to have psychedelic nightmares of murder, debauchery, and mayhem. When she dreams that she commits a murder, she wakes up to find out that there’s been an investigation opened into the murder of her recently deceased neighbor.

NEXT: 10 Asian Slashers That You Never Heard Of (But Need To Watch Right Now)

2020-01-16 01:01:05

Cody McIntosh

5 Horror Movie Sequels That Bested The Original (& 5 That Flopped)

Horror movies, especially slashers are incredibly well-known for having some of the most god-awful sequels imaginable. Two of the biggest offenders might be A Nightmare On Elm Street Part II, or maybe Halloween II. Then again, you’ll find people who are apologists for both of these films. Either way you slice it (pun intended) pretty much every franchise there is has someone arguing that any individual sequel is better than the original, or at the very least the best of the sequels.

RELATED: 10 Best Horror Movie Monsters Based On Real Mythology

Why shouldn’t they? With the film studios pumping out movie after movie to cash in on the face of Freddy Kreuger or Jason Voorhees, there’s really no reason one of the 20 sequels might not better. Anyway, let’s take a look at some films that are better than the first entry in their respective horror franchise, and some that most definitely aren’t.

10 Better: Hellraiser II

The cool thing about Hellraiser II in comparison to the original is that it takes a deep dive into the world of the Cenobites themselves, and even though the original based on The Hellbound Heart by Clive Barker is wonderful, we really didn’t focus enough on Frank after the Cenobites showed him what suffering really was. “We have such sights to show you” exclaimed Pinhead during the first one when the true horror that was the Lament Configuration finally decided to show its face, but we were too busy focusing on Frank gaslighting his way back into the flesh to figure out exactly what it was that Frank had seen. Luckily with Hellraiser II, not only are we pulled into our worst nightmares, but we see what it’s like when someone else is too.

9 Flop: Halloween II

We’re sorry John Carpenter. We love you, we promise. It’s just that after the formative slasher hit that was the original film Halloween, we expected just a little bit more. Fortunately with Halloween III: Season Of The Witch we saw what your vision would have been if the studio hadn’t essentially forced you to make another Michael Myers film, but 2 just doesn’t do what it needs to do nearly as well as the first one does. While it’s decent and we shouldn’t be complaining, we are. There was so much potential here, and you really just ended up setting the tone for the awful sequels instead of keeping Michael the unfeeling Shape that he deserved to be. Instead, we end up treading familiar ground inside of a hospital that for some reason has a jacuzzi inside of it? Thanks, but no thanks.

8 Better: Dawn Of The Dead

Dawn Of The Dead is just hands-down an incredible film. This isn’t to say that Night Of The Living Dead isn’t a great film and we’re sorry for buying so many knock-off copies of it since it isn’t copywritten, but there’s just something timeless and perfect about Dawn Of The Dead. Honestly, it’s your prototypical zombie film.

RELATED: The 10 Best Kills In Horror Movies From The Past Decade

While Night Of The Living Dead set a more than perfect groundwork for what would happen to zombie films throughout the 90s and what’s still happening today, there’s something about a zombie film that’s set in a mall that just works so well, even influencing things as diverse as video games like Dead Rising, one of the most perfect zombie games ever to hit gaming other than maybe Left 4 Dead and its sequels. Oh wait, this film seems to have influenced them too. Well, carry on, George A. Romero. Job well done.

7 Flop: Texas Chainsaw Massacre II

Texas Chainsaw Massacre II is the beginning of Tobe Hooper’s descent into “Umm… excuse me? What the hell are you doing?”. While tons of people love the sequel to Texas Chainsaw Massacre, it’s really unclear what they’re seeking to do. Are you attempting to expand on the tone of the first one? According to interviews, not enough people understood that apparently the first film is supposed to be a comedy. Oh you didn’t laugh when a woman is thrown onto a meat hook in a film that’s supposed to be based on true events? The issue for both the viewer and the filmmakers is that no one did. While they say it’s supposed to be a black comedy, one could argue that it is after investigating the southern gothic themes and the critiques of capitalism which are admittedly quite poignant. The only issue is that they don’t land the way they’re supposed to, and at the end of the day, we’re just watching flesh-hungry hillbillies catch dinner.

6 Better: Devil’s Rejects

The issue here might be with the directing in Rob Zombie’s debut. No one is arguing that House Of 1000 Corpses isn’t fun, the issue is that it may be too fun. It’s essentially a Rob Zombie music video that lasts over an hour, even if you only pull out the narrative bits and leave in the interstitials.

RELATED: 10 Horror Movie Villains You Can’t Help But Root For

What The Devil’s Rejects does so well is make you realize that the Firefly family doesn’t live in a vacuum. Even if you haven’t seen the film before, you understand that the cop is going to die, and Otis and Sherri Moon Zombie (who is very weirdly done in this movie as a kind of cannibalistic Harley Quinn) are going to get off scot-free with absolutely no repercussions for what they’re doing. While The Devil’s Rejects is dark and hard to watch, it’s much more real than anything that came before it.

5 Flop: Nightmare On Elm Street II

The original Nightmare On Elm Street is a classic and for this particular film, Wes Craven is an absolute genius. No one is arguing that that isn’t true. The only issue is that when the studio picked it up for a sequel, they really had no sense of suspense when attempting to make what is to come. While Freddy Kreuger isn’t quite “Welcome to prime-time bitch!” Freddy just yet, it’s obvious that he’s well on his way there. There’s also the intentional gay overtones that no one on the film was aware of other than the writer, set designer, and lead actor, which isn’t necessarily a bad thing. It’s just that if you go into it unaware, you might not get what you’re expecting.

4 Better: Evil Dead II

Sam Raimi really outdoes himself with The Evil Dead II. There’s absolutely nothing wrong with the first one, in fact it’s very nearly on-par with the second. The thing is that the story of the first one was so good that it only could have done with a bigger budget, and despite Sam Raimi being a fledgling director, he knew exactly how to put that to use. He made the movie funnier, more gory, more violent, and let Bruce Campbell really show the world what he could do. Also for those of you who don’t know, Bruce Campbell is incredibly charming.

3 Flop: The Howling II

The Howling II is only the start of a series of missteps in a franchise that’s almost completely missteps anyway unfortunately. While it does its best to be fun even though it’s a direct sequel to the original that just doesn’t work, it still falls apart anyway. The author of the books didn’t even like the first one, and after the second maybe he’s not wrong. And that’s not even to mention the Ausploitation travesty that was The Howling IV: The Marsupials. It’s exactly what it sounds like.

2 Better: VHS 2

VHS 2 does everything the initial entry does in the series, but much, much better. While not every small vignette hits precisely the way it needs to, when this film is good, it’s incredibly good.

RELATED: 16 Most Exciting Horror Movies Coming In 2020

We’d hate to say that this entry is on the list for only one piece of the anthology, because it isn’t, but there’s definitely a little snippet in this film about a cult that still stands today as one of the greatest pieces of media about what happens when a cult goes wrong.

1 Flop: Exorcist II: The Heretic

If you were a fan of William Peter Blatty and William Friedkin’s The Exorcist, otherwise known as one of the greatest films of all time, let alone horror, we’re profoundly sorry for The Exorcist II: The Heretic. The film decides that it still wants to follow a 16-year-old Regan who is somehow still suffering from demonic possession after all of the events of the first film. We promise, just don’t watch it.

NEXT: 10 Scariest ’80s Horror Movie Monsters, Ranked

2020-01-16 01:01:05

Cody McIntosh

5 Reasons Why Ju-On Is A Modern Horror Classic (& 5 Why The Remake Is Better)

Ju-On: The Grudge has had a lasting effect on the horror landscape in the west, and along with Ring, it’s has done a great job at bringing Japanese horror films over here to the west.

RELATED: The 10 Biggest Jump Scares In Japanese Horror Movies, Ranked

While there are some fans of the American remake of The Grudge that prefer it, and tons that just plain haven’t seen the original, there’s something almost more frightening about the rough-around-the-edges feel of Ju-On: The Grudge that makes it an absolute must-watch for any self-respecting horror fan. After watching the original, watch the remake and the sequel to the remake, and if you really enjoy the three of those, go ahead and watch the rest of the series. Which is the best though? The original or the recent reboot?

10 Classic: The Gritty Feel

The estimated budget for Ju-On: The Grudge is an estimated 3,500,000 in USD, which really isn’t big at all despite it sounding like a lot to most people. That means that there wasn’t enough for CGI and they used practical effects for blood, any slight amount of gore in the murder sequences, and for Kayako and Toshio. This means that they had a real actor and actress for all of their scenes, and as a horror actor, it’s a lot easier to react to something that’s actually there rather than a CGI rig in front of a green-screen. This contributes to its gritty, unpolished feel, which honestly gives the film an air of reality.

9 Reboot: The Cast

The cast in the 2020 reboot is legitimately really solid, featuring really well-respected actors and actresses such as John Cho, Andrea Riseborough, and a Hollywood scream-queen named Lin Shaye. While some would argue that the writers and directors of the film didn’t use them to their full capability, the star power alone is something that doesn’t really happen in a whole lot of horror movies, and when it does, they aren’t usually popcorn flicks like this.

8 Classic: The 2004 Remake Was Good

While a lot of people probably avoided the remake of Ju-On: The Grudge released in 2004 and starring Michelle Gellar, it’s a legitimately good film that any horror fan should watch, especially if they want a horror experience that helped shape the landscape of horror in the mid-2000s and into the late 2000s.

RELATED: The 16 Best Japanese Horror Movies of All Time

A lot of people have seen it, and the second one, which is why they might have been disappointed with the pacing and atmosphere of the remake since a lot of people seem to find it just a little bit boring so far.

7 Reboot: It’s What Horror Audiences Are Expecting

While some people might say that The Grudge didn’t need a reboot, audiences have probably wanted one for a while, especially after the release of The Grudge 3 which even die-hard Grudge fans found difficult to enjoy. While it might not have been exactly what we wanted, the reboot we got does a pretty okay job at keeping the feel of the first two films in the western remake series, in addition to adding a grit that we hadn’t really seen before in the series. There’s also the introduction of a police officer and an investigation of the murders that happened, which we don’t really see in the original either.

6 Classic: It Helped Bring Foreign Horror To The West

Before the wide attention that J-horror got after the release of The Grudge and The Ring, the only people who were familiar with Ju-On: The Grudge or Ring were horror film buffs and people who had their thumb on the pulse of international films given the buzz the release of the two generated for Japan. At this point, tons of people are specifically hardcore fans of J-horror, and now foreign-language horror releases are getting more attention from the film community at large regardless of what country they’re from, a big example being the Turkish horror film Baskin.

5 Reboot: Nicolas Pesce Is A Solid Director So Far

Nicolas Pesce doesn’t really have too much under his belt yet, but what he has done so far has gotten at least mixed-to-positive reviews. While this isn’t necessarily the most glowing of reviews for him, it still means that he’s a capable director with a future fit for honing his craft. With the help of horror-legend Sam Raimi, the film should have been everything we ever wanted for a Grudge film.

RELATED: Japanese Gore: Takashi Miike’s 5 Best & 5 Worst Films, According to Rotten Tomatoes

That being said, there are a lot of arguments going around that it’s not at all what we wanted. In both of his previous films, he’s definitely shown a lot of style, and if that can be molded into style that absolutely has the fundamentals down, then we’re looking at another great horror director.

4 Classic: It’s Based On Traditional Japanese Ghost Stories

One of the things that make Ju-On: The Grudge so charming and important to viewers is that it’s based on legends that are popular in Japan. In the same way that the release of John Carpenter’s Halloween was so affecting because it told the story of something that could happen and blow-up every aspect of a nice suburban life, the tale of that old, empty house that all the neighborhood kids know not to enter, Ju-On does that too. A lot of small cities in Japan probably have tales about murder-houses in their neighborhood that no one should go near, and that’s really at the heart of the film.

3 Reboot: Realism

One thing the director wanted to do with the reboot is to make it grittier than the movies that preceded it. That being said, sometimes grit isn’t exactly what a horror movie needs, which is the issue a lot of unrelated films from the early to mid-2000s had. Yes, you are making a horror movie, but being gritty for the sake of being gritty and punishing characters who don’t deserve it even a bit can be just a little bit cruel-hearted. This film does a decent job at avoiding both of those extremes, even if they definitely were leaning towards doing a lot with the gritty factor.

2 Classic: It’s Like A Series Of Horror Vignettes

While it may be a critique from some people, tons of critics and writers have noted that while the film does have an over-arching plotline running throughout it, it also takes its time to visit people who aren’t directly related to the initial incident that started the curse, only to show how their fates began to be intertwined with it later. It gives the whole movie a really interesting pace, and while it prevents us from identifying with the characters fully, it keeps the scares coming.

1 Reboot: Pushing The Mythology Further

Another thing Nicolas Pesce wanted to do when making this reboot of The Grudge was to make sure that they did something new with the mythology. Pretty much everyone who’s seen a trailer for any of the three preceding films is well-aware of how the curse works and how it’s able to spread. This film brings it to America after a new encounter with Kayako’s house, and from there we see a new string of murders. Not only has the curse moved to a new group of people, it’s also replicated itself here in the States.

NEXT: 10 Scariest Japanese Movies To Never Watch Alone, Ranked

2020-01-16 01:01:03

Cody McIntosh

Final Destination’s Horror Movie Character Name Easter Eggs

Final Destination started off as a small-scale horror film, but it’s turned into one of the more resilient and consistent horror franchises over the years.

The history of the original Final Destination actually charts back to an unproduced spec script for The X-Files. However, the concept of a vengeful Death who doesn’t like it when people escape its grand cosmic plan is perfect material for horror. James Wong’s film turned into an unexpected success and spawned a wealth of sequels that continued to improve upon themselves. There’s something strangely addictive about the way in which the world can be one giant Rube Goldberg machine designed to take someone out through coincidence.

Related: Final Destination Theory: Tony Todd’s Mysterious Bludworth Is Actually a Villain

None of the Final Destination films deviate too far from the first film’s original premise, although some of the movies get a little more creative with the universe’s rules. Even though the movies get increasingly bigger, there’s still something special about the first Final Destination and how it executes the idea so well. Part of the fun of the movie is not knowing how Death will lash out at these teenagers, but the film is also full of subtle nods and Easter eggs, both in regards to who is next on the chopping block as well as references to beloved horror films of yesteryear.

An easy place for movies to hide in references to other films is within the names of their characters, which is exactly what James Wong and Glen Morgan did with their Final Destination screenplay. Many of the main cast gets their namesakes from influential directors or performers from horror’s classical black-and-white era. Devon Sawa’s Alex Browning is named after director Tod Browning (Freaks), Terry Chaney comes from Lon Chaney, who played the original Phantom in Phantom of the Opera, Tod Waggner plays tribute to director George Waggner (The Wolf Man), and Seann William Scott’s Billy Hitchcock is a clear nod to the prolific Alfred Hitchcock. Even the more ancillary characters in Final Destination subscribe to this rule. Valerie Lewton (Val Lewton), Larry Murnau (F.W. Murnau), Blake Dreyer (Carl Theodor Dreyer), and Agent Shreck (Max Shreck) all also owe their names to old horror legends. To go one step even further with the symbolism behind the characters’ names, Tod Waggner is intentionally spelled with only one “d” since “Tod” translates to “death” in German.

While these figures are not necessarily influences on Final Destination, they’re still figures from horror’s history who have inspired Wong and Morgan. Since some of these names are more obvious than others, figuring out the significance of one can help clue audiences into the others and realize that there are hidden things to watch out for in the film. Paying attention to all of these horror Easter eggs may not help save these perilous teenagers from Death, but they’re still a bonus that reflects the level of love and research towards the horror genre that’s gone into Final Destination’s production.

More: Final Destination 3 Did Choose Your Own Adventure Before Black Mirror

2020-01-14 01:01:57

Daniel Kurland

10 Asian Horror Movies You’ve Never Heard of, Ranked | ScreenRant

Although it seems like the Asian horror boom has since long ended in the West, fervent fans know that isn’t true. The latest installment in The Grudge series is proving that interest still exists. Also, the genre is thriving quite well overseas. The difference now is there is more variety than ever before. No longer are studios riding the coattails of Hideo Nakata’s Ring or Takashi Shimizu’s Ju-on: The Grudge—we have a variety of subjects, more than ever before.

RELATED: 10 Asian Horror Movies To Watch Before You See The Grudge (2020)

In recent years, films like The Wailing and One Cut of the Dead have earned attention here. But, there are other titles, both old and new, that have flown under the radar. If you’re looking for something new and scary, and you don’t mind subtitles, then check out these ten horror movies from various Asian countries.

10 999-9999 (2002)

Teen slashers never go out of fashion, it seems. Thailand, like other neighboring countries, originally rummaged through native folklore when making horror movies. They eventually looked elsewhere for inspiration. Namely, the Final Destination series that was making serious money overseas.

In the tradition of 976-EVIL, 999-9999 concerns a suspicious phone number that curses anyone who calls it. Anyone unfortunate enough to ring the notorious number, soon ends up dead.

9 Darna Mana Hai (2003)

Inspired by the obscure 1997 American horror anthology Campfire TalesDarna Mana Hai (or, Fright is Forbidden) sets itself up in a similar way. A group of friends traveling on a long and deserted, backwoods road find themselves stranded after the car breaks down. Until help arrives, they share spooky stories with one another.

Unlike Campfire Tales, this Indian horror movie boasts six tales rather than five. Aside from the six segments, the wraparound contains its own involving subplot about the storytellers, all of whom are in mortal danger themselves.

8 Split of the Spirit (1987)

In this all but forgotten Taiwanese horror movie, a woman is heartlessly murdered by her lover. To exact revenge on those involved in her death, the victim possesses the body of a dancer. To free their friend of the spirit’s hold, though, a man and his girlfriend contact a spiritualist.

RELATED: 10 Absolutely Terrifying Chinese Horror Movies

Split of the Spirit is not remarkable by no means, but its inventive practical effects and stylish aesthetic keeps it in rotation for fans of vintage Chinese horror.

7 The Vanished (2007)

In this elusive 2006 horror movie from Japanese director Makoto Tanaka (Sing Salmon Sing), a tabloid reporter investigates a bizarre incident in a little town. A child is found dead, but his organs are somehow missing upon autopsy. This leads to a greater mystery where the corpse has literally run off. To add more confusion to this case, the boy died over thirty years ago…

The Vanished is originally titled Ame no Machi (Town of Rain), which is the name of the Hideyuki Kikuchi short it’s based on. It’s a pensive, creeping kind of horror movie that echoes early David Cronenberg at times.

6 Dangerous Seductress (1992)

Sometimes a film is so bad, it’s actually quite ‘good.’ This is the case for Dangerous Seductress (or Bercinta dengan maut in Indonesian), an early ’90s horror movie that has understandably developed a cult following over the years. Although available in the West on DVD, copies are now scarce. However, the movie was shot in English so there’s no need to worry about translation issues if you come across another release.

In H. Tjut Djalil’s outlandish final movie Dangerous Seductress, an abused woman makes a deal with evil and becomes a succubus-like creature.

5 Negative Happy Chainsaw Edge (2007)

In the vein of Donnie Darko, this fantasy-horror movie is based on the novel of the same name by Tatsuhiko Takimoto. It never outright induces scares or summons the sensibilities of a traditional horror movie, but Negative Happy Chainsaw Edge teeters on the edge.

RELATED: 10 Scariest Japanese Movies To Never Watch Alone, Ranked

In this romantic oddball of a film, two mournful teenagers come to meet one night when the other is battling a chainsaw-wielding entity. This is no isolated incident as it happens quite often for Eri, a grieving, young woman. Through these trials, though, she and Yosuke become the closest of friends.

4 The Secret of the Telegian (1960)

From the studio, Toho, that gave the world Godzilla is this near-lost 1960 sci-fi/horror treasure that pioneered a lot of future tokusatsu effects. In The Secret of the Telegian, a serial killer uses a matter-transporation device when carrying out his crimes.

Jun Fukuda’s The Secret of the Telegian was originally intended to be released theatrically in the West, specifically the United States. Plans fell through and the movie was sent straight to television. Although it was dubbed in English, this televised version of the film is in black-and-white rather than color.

3 The Housemaid (2016)

Not to be confused with the South Korean movie The Handmaiden, this Vietnamese ghoster is a period film with supernatural elements. Set in 1953 Indochina, a housemaid’s affair with her widowed boss results in the return of the man’s wife, now a displeased spirit.

RELATED: 10 Asian Slashers That You Never Heard Of (But Need To Watch Right Now)

Vietnam has had a lot of trouble building up its cinema industry. So, when something like The Housemaid comes along, one has to commend those involved. This spooky tale is sometimes a melodramatic soap opera, but compared to other Viet horror movies, it’s a cut above the rest.

2 Séance (2000)

Kiyoshi Kurosawa has dealt with horror since the beginning of his career. Years after Sweet Home was practically locked away by Toho, he gave the world Cure and Pulse. One of his lesser known films is one produced for television.

In the slow burn Séance (originally Kôrei), a woman with supposed paranormal powers helps the authorities find a missing girl. Yet, when the child appears before her, the woman and her husband keep her hidden in their home. This way, the psychic can prove her gift is legitimate. Unfortunately, the girl dies in her captors’ care, and she now haunts the couple responsible for her death.

1 Suddenly in the Dark (1981)

This 1981 horror movie combines several sub-genres, all coalescing into one of the best hidden gems in South Korean cinema. It all starts with a lonely housewife whose husband, a biologist, brings home a young housekeeper. As he’s busy with his work, the matriarch suspects something is not right about her new employee. She not only possesses an ominous shaman statue, the housekeeper may be having an affair with the wife’s husband.

Suddenly in the Dark is a gaslit and supernatural psycho-thriller. Its lead actress delivers an unsettling performance that credits the movie’s evocative, mania-induced feeling. Anyone who loves classic horror should not miss out on this one. Especially since it’s been remastered and translated for a wider audience today.

NEXT: 10 Scariest Korean Movies To Never Watch Alone, Ranked

2020-01-12 03:01:25

Paul Le

New BATMAN Writer is Bringing The Horror Back To Gotham

Writer James Tynion IV is no stranger to Gotham, having worked on such Batman titles as Detective Comics and Batman: Eternal. But in his new nine-issue story arc “Their Dark Designs,” Tynion is bringing an “action-horror” element to DC’s flagship book with gruesome new characters, and graphic death scenes.

Despite a long career writing stories within the Batman franchise, Batman #86 (on sale now) marks Tynion’s first time in the driver’s seat of DC’s flagship Batman comic. According to multiple interviews with Tynion as well the writer’s own newsletter, The Empire of the Tiny Onion, his “bat-book” will heavily feature the title character as an agent of fear, going as far as comparing Batman’s ferocious tenacity to that of horror icon Michael Myers.

Related: New Batman Game Teased By WB Montreal Again, Fans Put Together Full Logo

Tynion explained his overall plans for the book in a recent interview with DC Nation:

We’ve talked a lot about the tone we’re hoping to bring to Batman. I keep using the words ‘action-horror’ and I think that’s going to drive a lot of what we’re doing… Batman has always been a frightening character, and he uses his villains’ fear as a weapon to help him do his job. There are ways we’re going to push that and bring it into the world he’s helping rebuild around him after the last year.

Following Tom King’s gargantuan 85-issue run of Batman would be intimidating for many writers, but with nearly a decade of comic books under his belt (and legendary Batman scribe Scott Snyder as a former professor) Tynion seamlessly transitions from the aftermath of “City of Bane” into his own story. The Dark Knight’s life is that much darker with Gotham only beginning to recover from its occupation under Bane and his enforcers.

This wouldn’t be the first time Bruce Wayne has had to rebuild his city after a major cataclysm, but with his longtime butler/father figure Alfred Pennyworth now tragically deceased, Batman has to fight against unstoppable odds while missing a core piece of his support system. In one tear-inducing moment in issue #86, Bruce momentarily forgets Alfred’s passing and instinctively tries hailing him over his cowl communicator. In short, Bruce… isn’t doing too well. Right from the start of the series, and his emotional baggage is turning his crusade to fix Gotham into a manic obsession.

But Batman won’t be the only boogeyman in Tynion’s series. In his first issue alone, Tynion introduces two new assassin characters, one of whom looks like he walked right off the set of House of 1000 Corpses. The issue also features two slow and gruesome deaths that will give anyone with septophobia goosebumps. Tynion would hardly be the first writer to inject horror elements into a Batman story, but for the seasoned comic book writer it’s more than just a gimmick. With Bruce in such a poor state of mental health following the tragic events of Tom King’s 85-issue run, Tynion is using the horror genre to spotlight the character’s emotional turmoil. While Gotham’s villains might be scary by themselves, an emotionally shaken Batman driven to his breaking point is by far even scarier.

Batman #86 is available now at your local comic book shop.

More: Morbius and New Mutants Crossing Over Into Horror Is Smart For Superhero Movies

Source: DC Comics

2020-01-12 02:01:02

Dorian Black

Horror Franchises Returning In 2020 | Screen Rant

Michael Myers, who is returning in Halloween Kills, and many other leading horror franchises are seeing new installments release in 2020, which is shaping up to be an incredible year for horror.

Horror franchises have always been one of the biggest aspects of the horror genre ever since the 70s and 80s, which saw the rise of Freddy Krueger, Michael Myers, Jason Voorhees, and Leatherface dominating the big screen as titans of terror. Others have followed, like Chucky in the Child’s Play franchise and Pinhead in Hellraiser, but as the years have worn on, modern franchises like Saw and The Purge have emerged and joined them.

Related: Every Horror Movie Confirmed For 2020 Release Date

Many of these popular modern franchises are getting new installments in 2020. Some that haven’t been updated in years, such as Candyman, are getting refreshed and updated from new, brilliant minds within the genre. Here are some of the franchises to look forward to on the big screen this year.

Though its original installment, The Boy, didn’t take off with audiences (and only has a 30% rating on Rotten Tomatoes), its sequel Brahms: The Boy 2, is heading to theaters in late February. This time, Brahms has a new family to torment, and stars Katie Holmes as Liza. The last movie, in 2016, starred The Walking Dead alum Lauren Cohan as Brahms’ nanny, which might beg the question as to why a doll would be in need of a nanny in the first place, but with Brahms, there’s more than meets the eye.

A Quiet Place 2 is the highly-anticipated sequel to writer and director (and star) John Krasinki’s 2018 smash hit, A Quiet Place. Though Krasinski’s character didn’t survive the first installment, the sequel follows the remaining members of the Abbott family (Emily Blunt, Millicent Simmonds, and Noah Jupe) as they make their way to a new location from the farmhouse they were previously stationed at for safety from the extraterrestrial creatures who respond to even the slightest sound. The first full-length trailer dropped on Jan 1, 2020, and the film will release in March.

The ninth installment of the popular Saw franchise is currently being called by its working title, “The Organ Donor” and was inspired by a story from Chris Rock, who also stars in the film. This upcoming film will see the return of director Darren Lynn Bousman, and will also star Samuel L. Jackson and Marisol Nichols (Riverdale). Little is known about the plot, though sources surrounding the film has said that Rock’s idea for the story takes the franchise in a new, unique direction. Every previous film in the Saw franchise has had an October release, so the May 15 release date is an early present to franchise fans.

Related: How Does The Saw Reboot Connect To The Original Movies?

Jordan Peele, of Get Out and Us fame is one of the biggest names in horror right now. When news broke of him being behind a “spiritual sequel” to the beloved Candyman franchise, fans were over the moon. Director Nia DaCosta is at the helm, and while she is a newer filmmaker, her projects have gotten incredible reviews from critics, along with Peele’s stamp of approval. The film will see Tony Todd, the originator of the titular role, back in some capacity and also stars Yahya Abdul-Mateen II (Aquaman), Teyonah Parris, and Colman Domingo.

The Purge 5, which is currently untitled beyond that, could possibly be the franchise’s final installment, according to creator James DeMonaco. Plot details are scarce, and fans have wondered whether the film will follow up directly after the events of the franchise’s third installment, Election Year, or perhaps even adapt The Purge television series in some capacity. Jason Blum has mentioned interest in a crossover in the past, as well as a greater cinematic universe for Blumhouse properties in general, so while this movie might be the end in some capacity, it could still have a greater future after it releases in July 2020.

Columbia Pictures managed to turn a meager $9 million budget for Escape Room into $155.7 million at the box office, so Escape Room 2 (and likely an entire franchise) got underway barely a year later. The first film released in January 2019, which is typically a poor month for horror movie releases, as seen with The Grudge‘s box office flop. However, this series about friends who sign up to do an escape room together (which has become a popular trend in recent years) only for it to go horribly wrong has endured. Though it’s reminiscent of the Saw movies, Escape Room‘s sequel could be an equal success that might end up starting something much bigger.

James Wan’s The Conjuring universe will continue with yet another case from the files of Ed and Lorraine Warren, who are played by Patrick Wilson and Vera Farmiga, respectively. This time, instead of following an in-home haunting, as is the usual modus operandi of the franchise, The Conjuring 3 will follow the events of an infamous court case where the Warrens testified after performing an exorcism. The case was the first in US history where a defendant claimed demonic possession as a defense and created the infamous line “the devil made me do it,” which was the inspiration for the film’s title. Michael Chaves, who previously helmed The Curse of La Llorona, will direct.

Related: The Conjuring 3: What We Know So Far

The continuing saga of Michael Myers and Laurie Strode, which has endured in some capacity since the original movie’s premiere in 1978 will continue in 2020, with one more installment (and presumably the last) in 2021. Halloween Kills will see Jamie Lee Curtis and James Jude Courtney/Nick Castle as Laurie and Michael, respectively. Other familiar faces will return in some capacity, including Anthony Michael Hall, who was cast as the adult version of Tommy Doyle and Kyle Richards, who is reprising the role of Lindsey Wallace, which she originated as a child actress.

Next: Most Anticipated Horror Movies Coming In 2020

2020-01-10 01:01:25

Jack Wilhelmi