The Best Horror Movies of 2024

As a film enthusiast who has spent countless hours immersed in the world of horror, I must say that the year 2023 was a truly remarkable one. With my heart pounding and eyes wide open, I found myself captivated by the sheer creativity and audacity of some of the offerings this year.

One film that left an indelible mark on me was “The Substance,” directed by the brilliant and fearless French auteur, Marie-Louise Oblongue. This film was a masterclass in body horror, with its absurdity and exaggeration hitting all the right notes. The idea of celebrity and beauty standards being satirized through an aerobics show hostess who turns into a monster is nothing short of genius.

But what really struck me about “The Substance” was how it tapped into the universal experience of self-hatred and the desperate desire to hold onto one’s youth. This film, in its hilarious and grotesque way, made me confront my own insecurities and reminded me that the pursuit of perfection is a never-ending nightmare.

And let’s not forget the practical effects work! The monster was a practical effects wonder that brought to mind the glory days of Peter Jackson, Brian Yuzna, and Screaming Mad George. It’s amazing to think that a film like this could receive mainstream and critical acclaim in today’s world.

Of course, there were other standout films this year as well, such as “Strange Darling,” “Lowlifes,” “Blackout,” and “Milk & Serial.” But for me, nothing will ever compare to the twisted brilliance of “The Substance.”

Now, if only I could find a way to bottle up that feeling of fear and disgust and use it as an anti-aging cream…I’d be set for life!

Amidst all the uncertainties swirling around us, horror remains an unwavering constant – a chilling reminder of the unknown that we must confront. In some strange way, it offers a sense of predictability amidst the chaos. The real challenge lies in how we channel this fear. For some, the fear serves as a potent source of motivation, not just for personal growth but to inspire others too. Embracing the tagline of The First Omen, I strive to create something that stirs fear within me, transforming it into something powerful and inspiring.

It’s not necessarily true that tougher times give rise to superior art, but the intense fears we experience during challenging periods do provide fertile ground for horror movies that resonate with our current circumstances. While uplifting horror flicks featuring characters who triumph over trauma can be captivating, many of this year’s films underscored the importance of acknowledging and dealing with difficult emotions like despair, as not all wounds heal completely, and some struggles may never fully be vanquished. Moreover, victory and healing might only offer temporary respite from our demons.

2024 was a year that left a lasting mark of pain on me, especially within the realm of horror films. One image that encapsulates this theme is Demi Moore’s portrayal of Elisabeth Sparkle in Coralie Fargeat’s The Substance, where her tearful smearing of makeup and contorting her face into self-loathing expressions stood out. I want to focus on this year’s horror through the lens of hurt, particularly its impact on women, rather than just pain. This is because hurt isn’t merely a feeling; it’s the actions we take upon ourselves and each other, physically and emotionally, as we grapple with the pressures society imposes and the ones we impose upon ourselves and others.

2021 saw a wide range of films delve into themes of pain and distress, spanning various critical appraisals. Films such as A Quiet Place: Day One, The Crow, Exhuma, The Watchers, The Exorcism, Trap, Smile 2, and even the more light-hearted family-oriented Beetlejuice Beetlejuice, all carried deeper messages about pain that transcended the intense violence often associated with this genre. However, don’t let that fool you into thinking there wasn’t plenty of violence as well.

2024 was an outstanding year for horror flicks, particularly those rated R, as they made a strong comeback. Despite the family-friendly box office hit A Quiet Place: Day One, which some humorously argued wasn’t truly horror, the top-grossing horror film of the year domestically, several other films such as Alien: Romulus, Longlegs, Smile 2, Speak No Evil, Heretic, and the unrated Terrifier 3 managed to secure a spot among the top ten highest-grossing horror movies of the year. Many of these films, along with others that didn’t make it into the domestic box office’s year-end top 10 — like Abigail, The First Omen, The Substance, and Immaculate — were characteristically violent, featuring a generous amount of blood and gore. There was an unflinching realism to much of what we saw on screen this year, from the shocking birthing scene in Arkasha Stevenson’s The First Omen to the stomach-churning effects in Terrifier 3. Whether it was about rights, justice, injustice, or a primal obsession, 2024 seemed intent on inflicting pain and covered in blood.

While it may seem like this year’s horror genre was all about doom and despair, that’s far from the truth! Amidst dealing with painful themes, there were moments of pure fun and laughter. The creative advertising for Longlegs, coupled with Nicolas Cage’s electrifying performance, sparked a wave of hilarious viral skits and memes, forever etching Longlegs into horror pop-culture history. Movies like The Substance were heartbreaking at times but also offered an abundance of ludicrous and side-splitting humor. Kathryn Newton solidified her status as the reigning queen of horror-comedy with her disarmingly funny roles in Lisa Frankenstein and Abigail, while Josh Hartnett devoured scenery and tainted pie with fervor in Trap. And who could forget the trailer for Speak No Evil, which played before every movie from March to September, leaving not even dreams untouched by the catchy tune of Cotton Eye Joe.

As we prepare to embark on a fresh new year filled with unknown terrors, let’s reminisce about the most terrifying offerings of 2024 in the horror genre. It wasn’t an easy feat, but as always, our goal is to highlight as many horror films as we can. Over the years, the distinction between major and independent film studios has blurred, with A24 now producing big-budget films and even developing video games. With this in mind, we’re introducing a new two-list format: one for movies with wide domestic distribution (over 2,000 screens today) and another for limited and streaming releases. Instead of focusing on the numbers, let’s focus on the suspenseful thrills that made 2024 stand out in horror films.

BEST WIDE RELEASES

10. Lisa Frankenstein

The character, Lisa Frankenstein, portrayed by Kathryn Newton in Zelda William’s ’80s-inspired horror-romantic comedy, is an unique blend of humor and melancholy, akin to a mix of “Beetlejuice” and “Heathers.” Diablo Cody pens the screenplay. After her mother’s murder by a serial killer with an axe, Lisa Frankenstein forms an unlikely friendship with The Creature, a reanimated Victorian pianist (Cole Sprouse). As Lisa endures torment from her cruel step-mother, Janet (Carla Gugino), who seeks to commit her to an asylum, and as The Creature’s body decays, the two outcasts form an alliance – The Creature aids Lisa in managing her life, and Lisa agrees to help him replace his deteriorating body parts. Consequently, this arrangement leads to a series of killings that transition from playful to somber throughout the film.

In spite of the violence and shocking dismemberment, the film Lisa Frankenstein surprisingly showcases Lisa’s empathy, thanks to impressive performances by Newton, Sprouse, and newcomer Liza Soberano who plays Lisa’s step-sister, Taffy. This electric, vibrant film about loss, love, and finding one’s place in life or the afterlife didn’t do well this year, but it has sparked excitement for where Williams’ career might head next. Similar to Cody’s previous horror writing work, Jennifer’s Body, it appears destined for a resurgence.

9. Terrifier 3

As a long-time horror movie enthusiast who has seen countless films, I can confidently say that Terrifier 3 surpassed all expectations and pushed the boundaries of what I thought was possible in the genre. Having grown up watching indie horror movies, I’ve always appreciated the grit, creativity, and passion that these productions bring to the table, and Terrifier 3 embodies those qualities wholeheartedly.

What initially caught my attention was its modest $2 million production budget, a figure that is relatively small compared to the blockbuster horror movies we often see today. Yet, it became one of the most successful horror films of the year, proving once again that with a solid concept and talented filmmakers, even a shoestring budget can yield great results.

The characters in Terrifier 3 felt real, with Sienna Shaw (Lauren LaVera) and her brother Jonathan (Elliott Fullam) portraying survivors who have been forever marked by their terrifying encounter with the demonic Art the Clown (David Howard Thornton). Their emotional depth and the scars they carry serve as a constant reminder of the horrors that lurk in the shadows, making the film all the more chilling.

In short, Terrifier 3 is not for the faint-hearted, but for those who appreciate raw talent, innovative storytelling, and a good old-fashioned scare, this little indie is a must-watch. It’s a testament to what can be achieved with passion and perseverance in the world of independent filmmaking, and I eagerly await the next installment in the terrifying saga of Art the Clown.

As a seasoned horror movie enthusiast who has watched countless films of the genre, I must admit that I was initially skeptical when I heard about Terrifier 3. However, after watching it, I can confidently say that it surpassed my expectations in every way.

From the very beginning, the film grabs you by the throat and refuses to let go. Sienna’s struggle for a fresh start is cruelly cut short by the reappearance of Art and his partner Victoria Heyes, who bring with them a trail of gruesome carnage that would make even the most hardened horror fan wince.

The kills in this film are truly stomach-churning, yet they are executed with such skillful practical effects work that you can’t help but marvel at them. The blend of slasher, mythology, demonology, and comic book iconography is nothing short of genius, making Terrifier 3 stand out from the crowd.

What really sets this film apart, though, is its unrelenting intensity. From start to finish, it never lets up, leaving you on the edge of your seat with bated breath. I found myself constantly questioning what would happen next and eagerly anticipating each new twist and turn.

In short, Terrifier 3 is a must-watch for any horror fan who appreciates practical effects, a good story, and a healthy dose of bad taste. Just be sure to empty your stomach beforehand!

8. Alien: Romulus

The “Alien” franchise made a grand comeback to cinemas with the Fede Alvarez-directed and Ridley Scott-produced film titled “Alien: Romulus”. This production effectively blended the preferences of both directors, striving to recreate the atmosphere of the initial two films in the series, “Alien” and “Aliens”, while furthering the concepts and mythology established in the recent installments, “Prometheus” and “Alien: Covenant”. The plot of “Romulus” unfolds between the events of “Alien” and “Aliens”, focusing on a band of young scavengers – Rain (Cailee Spaeny), Andy (David Jonsson), Tyler (Archie Renaux), Kay (Isabela Merced), Bjorn (Spike Fearn), and Navarro (Aileen Wu) – who stumble upon a deserted space station, which they believe could offer a brighter future beyond their colony. However, an alarming revelation threatens to extinguish all hope of such a future altogether.

Guided, in part, by Alvarez’s upbringing in Uruguay and the disposable nature of a transient workforce, Romulus adopts a working-class viewpoint similar to that of Scott’s original film. Furthermore, like Alvarez’s talent for crafting seemingly insurmountable survival challenges, and his background in special effects, Romulus offers a visually stunning, terrifying feast that subjects its characters to various hardships as they navigate from one dangerous setting to another. Although the digital reincarnation of an actor doesn’t contribute positively to the film, it introduces enough fresh elements through its focus on Rain and her android sibling, Andy, along with a wild finale, making it a successful continuation of the franchise. If we could only see Michael Fassbender’s character, David, return in future installments!

7. Immaculate

If it wasn’t for the influence of Christ or shrewd business acumen, Sydney Sweeney might not have revived a movie she tried out for in 2014, which had been stuck in development limbo. Directed by Michael Mohan, this intense personal endeavor chronicles Sister Cecilia (Sweeney), who enters an Italian convent full of hope for the future. However, when her pregnancy, despite her virginity, is revealed, she is revered as a modern-day Madonna. As she experiences peculiar encounters with some of the older nuns and receives medical attention from Father Tedeschi (Álvaro Morte), Sister Cecilia begins to question whether her child’s conception could be something other than divine.

Mohan adopts a method in filmmaking that echoes the suspenseful style of 1970s European horror, transitioning into a frenzy of exploitation and monster movie chaos without flinching, even maintaining unflinching shots of violence. The final product resembles a blend of Gore Verbinski’s “A Cure for Wellness” and Michele Soavi’s “The Church.” Sweeney gives an all-out performance that culminates in a shocking finale where her bloodied face lets out primal screams of fury, terror, and agony – sounds and images that have made a lasting impression on horror fans this year.

6. A Quiet Place: Day One

As someone who has grown up watching various film franchises, I can confidently say that prequels can indeed be a tricky proposition. However, this year’s horror offerings have demonstrated that if a story is captivating enough and doesn’t merely rehash information we already know, audiences are more than willing to show up.

Michael Sarnoski’s feature film, with its shift from the rural outskirts of John Krasinski’s previous movies to New York City, presents a fresh take on the arrival of hearing-adept aliens on Earth as they first land. Despite broadening the scope and changing the family dynamics compared to the earlier installments, the world-building remains thoughtfully paced and takes a back seat in the grand scheme of things.

Having experienced both successful and lackluster prequels throughout my life, I believe that striking the right balance between familiarity and novelty is crucial for capturing an audience’s interest. In this case, I am excited to see how Sarnoski’s film will unfold and how it will continue to expand on the intriguing universe that Krasinski has built.

On the first day, it’s fortunate that we aren’t celebrating the franchise’s birthday, and the movie stays faithful to its original narrative. The story revolves around Sam (Lupita Nyong’o), a terminally ill patient, and Eric (Joseph Quinn), a British law student she rescues. Together, they strive for survival while seeking meaning in their lives. This film echoes the profound contemplation of mortality, artistry, and animal affection that Sarnoski previously showcased in his critically-acclaimed independent drama, “Pig.” The extraterrestrial beings and their devastating power are portrayed as a natural phenomenon that intensifies the human bond at the core of the film. However, it’s the captivating, boundary-breaking performances by Nyong’o and Quinn that truly enchant.

5. The First Omen

In a surprising twist, Arkasha Stevenson’s prequel, The First Omen, left audiences awestruck with its brilliance, seamlessly linking to the events of Richard Donner’s 1976 hit, The Omen. The film exhibits an unprecedented level of dedication and meticulousness in its production. The cinematographer, Aaron Morton, captures the essence of the ’70s not only through fashion and vehicles, but also through his 35mm Eastman Kodak stock filming technique. Moreover, Nell Tiger Free, known for her role in Servant, delivers an outstanding performance as Sister Margaret, a character brought to life by her subtle quirks and idiosyncrasies. What makes The First Omen even more remarkable is that Stevenson isn’t merely replicating the past but reinterpreting it. By introducing a feminine perspective into a predominantly male franchise, Damien’s creation is given contemporary relevance.

The movie aptly reflects the erosion of women’s rights in America and worldwide, with both governmental institutions and religious bodies playing sinister roles. This film is not only symbolic but also chilling, and it’s astonishing how much Stevenson manages to portray within a studio production, even one produced by Disney-owned 20^th Century Studios. Close-up shots of live birth and sexual assault sanctioned by the church, as well as Tiger Free’s intense and physically transformative performance reminiscent of Isabelle Adjani in Possession, which gave me a stiff neck, make this movie uncompromising. In a year filled with promising directorial debuts, Stevenson is the filmmaker whose future work I’m most eager to witness.

4. Smile 2

Parker Finn’s novel “Smile” was one of the standout debuts in 2022, using the familiar trope of a curse reminiscent of “Ring,” to explore and challenge societal expectations surrounding mental health issues and past traumas that people often hide to appear normal. The sequel continues these themes, increases the intensity, amplifies the fear, and offers a story filled with unexpected twists as it transitions from the realm of therapy into the world of music stardom.

Rather than rehashing the foundations of the initial movie and delving into Joel’s storyline from the first film, Finn chooses to explore themes of fame’s pressures and performative identity by focusing on Skye Riley, a pop star planning a comeback after overcoming addiction issues and a car accident that left her with a damaged spine and claimed the life of her boyfriend, Paul. A reunion with an old high-school friend and drug dealer, Lewis, triggers Skye’s descent into turmoil, causing her grip on reality to weaken. The pressures from her mother, Elizabeth, her former best friend, Gemma, and music executives gradually dismantle the polished comeback image constructed for her.

In a remarkable display this year, Scott gives a standout performance that transcends the horror genre. Her portrayal of Skye is deeply layered with self-consciousness, anxiety, paranoia, fear, and self-harm, all while contributing an impressive soundtrack and frequently sipping Voss water. This film, with its haunting visuals, leaves a lasting impact on viewers, hinting at Finn’s innovative approach to the theme of Possession. It serves as further evidence that Scott is a formidable acting talent, undoubtedly deserving of recognition in any comprehensive awards category.

3. Heretic

Scott Beck and Bryan Woods have gained significant recognition in the horror genre over the past six years, creating and writing ‘A Quiet Place’, directing and writing ‘Haunt’, and penning last year’s adaptation of Stephen King’s ‘The Boogeyman’. However, their latest work, ‘Heretic’, which they both write and direct, stands as their most impressive accomplishment yet. In a captivating game of cat-and-mouse between two young Mormon women, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), and an unusual man, Mr. Reed (Hugh Grant), ‘Heretic’ skillfully develops complex characters while delving into the more challenging aspects of organized religion, faith, control, and the monomyth – themes that often provoke deep contemplation about life and mortality. These are ideas we tend to avoid dwelling on for too long in fear of their profound implications.

Beck and Woods aren’t shy about challenging faith’s safety net, yet they wisely keep many of the film’s concepts thought-provoking rather than definitive. The script, one of the year’s finest, maintains a genuine tone as it explores questions without belittling the audience or assuming an authoritative role for the filmmakers. It’s also cunningly intelligent and humorous, with Grant’s Monopoly monologue being particularly memorable, a scene that might be studied in screenwriting and acting workshops for years to come. This edge-of-your-seat thriller demonstrates that religious horror has more depth than just cults, convents, or exorcisms; it’s Heretic.

2. Longlegs

In a nutshell, the hidden talents or creations of individuals often come to light eventually. Oz Perkins, well-known in independent horror circles, garnered mainstream recognition through the film “Longlegs,” which was marketed using puzzles and unsettling visuals. This movie turned out to be the most profitable indie film of the year, bridging the gap between horror enthusiasts and those less familiar with the indie scene. The movie “Longlegs” features FBI agent Lee Harker (played by Maika Monroe) as she pursues an occult serial killer called Longlegs (portrayed by Nicolas Cage). While its narrative bears resemblance to “The Silence of the Lambs,” I found it reminiscent of “To Kill a Mockingbird.

The names Harper Lee and Lee Harker share a resemblance, and the latter seems reminiscent of Jonathan Harker from Bram Stoker’s Dracula. Interestingly, there are also parallels between the secluded neighbors in their respective stories: Boo Radley from To Kill a Mockingbird and Longlegs from Lee’s life. Both characters have profound impacts on their protagonists, Scout and Lee, but while Boo serves as a revealing force and provides protection, Longlegs hinders the truth and remains a troubling presence in Lee’s subconscious.

The two narratives adopt contrasting styles when it comes to parenting; Atticus Finch stands as a strong advocate for integrity and fairness, whereas Ruth Harker (portrayed by Alicia Witt) seems to conceal truth, symbolically and literally, acting in ways that serve her own interests under the guise of evil deeds. Whether these comparisons were deliberate or not, there remains an intriguing and eerie fairy tale-like essence to Perkins’ work. Monroe and Cage leave a lasting impact with their portrayals of these towering characters whose actions, along with the consequences that follow, cannot be entirely confined within the rational realm of the crime drama.

1. Nosferatu

In a nutshell, Robert Eggers’ version of “Nosferatu” is not like any other adaptation you’ve seen before. Known for his meticulous craftsmanship, exceptional acting, and visually stunning shots, Eggers is an exceptional filmmaker. However, he isn’t just a master of technique; he’s also a significant storyteller. His fascination with the past has redefined our modern understanding of horror in intriguing ways.

In this adaptation of “Nosferatu,” while the overall plot may be recognizable, it delves deeper into the occult and offers a female-centric perspective. This approach underscores the importance of sexual desire and consent as a powerful force – one that is both natural and mystical.

Eggers’ reinterpretation of Nosferatu is a profound masterpiece. This isn’t just profound in today’s common sense, but profound in the sense that philosopher Edmund Burke explored – sublimity being a blend of fear and allure, which he termed as ‘negative pleasure,’ or delight, distinct from simple joy. It’s a deeper emotional experience where intense discomfort is no longer equivalent to pain.

In Eggers’ interpretation of Nosferatu, the concept of the sublime motivates Ellen Hutter (Lily-Rose Depp) to extend an invitation to Count Orlok (Bill Skarsgard). Nosferatu embodies death, yet he also exudes a captivating allure that overpowers Ellen. This intrigues her friend Anna Harding (Emma Corrin), unsettles the men around her such as Thomas Hutter (Nicholas Hoult), Friedrich Harding (Aaron Taylor-Johnson), Dr. Sievers (Ralph Ineson), but leaves Professor Von Franz (Willem Dafoe) enlightened, for he recognizes the link between the natural and supernatural forces at play between Ellen and Orlok. It is mainly men who fail to grasp the true nature of the vampire and their own powerlessness in this situation.

In the classic film Nosferatu, Ellen serves as the key to vanquishing Orlock; however, Eggers’ adaptation explores gender roles in a more revolutionary manner than prior versions, significantly shifting the themes established by Stoker in Dracula. Instead of viewing female sexual liberation as something destructive, symbolized by weapons like wooden stakes and blades, Eggers presents it as a vital force that could save the world. In this retelling, it’s Ellen who wields control over the vampire, empowering her to experience her own pleasure, petite mort, rather than being controlled by it.

Honorable Mentions: Maxxxine, Beetlejuice Beetlejuice, Abigail, Trap, The Watchers, Speak No Evil

BEST STREAMING AND LIMITED RELEASES

10. Your Monster

Melissa Barrera remains a cherished presence within the horror genre, and the film “Your Monster” provides an opportunity for the actress to revisit her background in musicals and comedy while also showcasing the dark, unpredictable persona she’s cultivated in horror. A contemporary interpretation of “Beauty and the Beast”, “Your Monster” tells the story of Laura Franco (Barrera), a performer battling cancer who is unexpectedly left at the hospital by her playwright boyfriend, Jacob (Edmund Donovan). Upon recovery, Laura returns to her childhood home, plunging into despair when she learns that the play she co-wrote with Jacob, initially intended for her lead role, is about to debut with another actress taking her place. This anger inadvertently summons Monster (Tommy Dewey), a figure from Laura’s past that lurked in her closet as a child.

In spite of Dewey appearing hairy and wearing prosthetics, the chemistry between him and Barrera is heart-meltingly romantic as their bond shifts from revulsion to trust, eventually blossoming into friendship and love. Let’s bring on Angela Lansbury’s tune. The story encourages Laura to discover her self-assurance and try out for Jacob’s play, leading to unexpected repercussions for all three characters. It’s fair to say that Your Monster seems more like a romantic comedy with a horror twist than a true horror movie. However, the third act takes a sudden, shocking turn that firmly establishes it as a horror film. Lindy’s movie is a touching portrayal of love, anger, pain, and rebellion for monster enthusiasts and theater aficionados. It would complement Williams’s Lisa Frankenstein beautifully.

9. Stopmotion
Imagine if our creative endeavors were physically connected to us through intricate threads and circulatory systems. If we were to detach ourselves from these works, what might transpire? Robert Morgan’s initial foray into filmmaking, titled Stopmotion, explores this idea via a stop-motion animator named Ella (Aisling Franciosi). Ella grapples with the legacy of her renowned mother who assigned her the task of completing her last project before falling into a coma. Tormented by her inability to meet her mother’s expectations, Ella discovers a source of inspiration in a child from her apartment complex who shares a tale about a girl lost in the woods, evading an enigmatic figure called The Ash Man.
Moving away from her mother’s profession, Ella becomes increasingly fixated on creating a lifelike film as the young girl insists on more authentic characters. Ella starts to integrate real materials like meat and carcasses into her animation, with the requirements of the project growing until the boundaries between the movie and reality become indistinguishable. Morgan’s film skillfully employs ambiguity while offering enough details for viewers to form their own theories and feel uneasy. With an unsettling sound design, a grisly scene featuring tearing tissue that appears so realistic it makes even the most gruesome scenes from Terrifier 3 seem tame, and haunting stop-motion effects, Stopmotion is a meticulously constructed terror, blending surrealism and fine artistry.
8. Exhuma
Horror films often captivate audiences worldwide uniquely, reflecting regional social and cultural anxieties. For instance, Jang Jae-hyun’s Exhuma was a blockbuster in South Korea, even setting the record for highest grossing film of the year. However, it remained relatively obscure in North America, where it was distributed on Shudder.
As a gaming enthusiast who appreciates a good scare, I can’t help but recommend “Exhuma” – one of this year’s most chilling horror movies. This Korean production offers a unique blend of history, mythology, and ley line exploration that adds an intriguing twist for those outside South Korea. However, the film’s real strength lies in its exploration of family bonds, the unbreakable ties that can either save or destroy us.
In response to a request from a wealthy real estate tycoon whose newborn son is under a curse, two shamans named Hwa-rim (Kim Go-eun) and Bong-gil (Lee Do-hyun), along with a feng shui master and geomancer named Sang-deok (Choi Min-Sik), an undertaker named Yeong-geun (Yoo Hae-jin), are commissioned to move the grave of the tycoon’s ancestor, whom he believes has placed a curse on his bloodline. During the process, they unexpectedly unearth another coffin buried beneath the ancestor’s grave. This discovery inadvertently awakens a Samurai oni, leading them to uncover Imperial Japan’s sinister influence over occupied Korea. Although I may not be fully versed in the politics, Exhuma leaves a lasting impression and is beautifully captured by cinematographer Lee Mo-gae. It serves as an exploration of the atrocities of the past and their impact on the present.

7. Oddity

Despite the intricate complexity found in numerous horror films this year, it’s still enchanting when a straightforward narrative is executed skillfully. Irish filmmaker Damian Mc Carthy, who made an impression with his supernatural horror film “Caveat“, comes back with “Oddity“, demonstrating once more his ability to extract maximum impact from a solitary setting, an unusual situation, and a striking prop. Widowed psychiatrist Ted (Gwilym Lee) welcomes his wife’s twin Darcy (Carolyn Bracken), a blind clairvoyant and proprietor of a curio shop, into his home for the night while he’s at work. This gives her an opportunity to meet Ted’s girlfriend, the arrogant and harsh Yana (Caroline Menton). Darcy’s arrival also brings with it a shipping crate, which contains an unsettling wooden mannequin. The presence of both Darcy and the mannequin causes unease in Yana and leads her to uncover troubling truths about Ted’s house and the ghost that dwells within. In the manner of Edgar Allen Poe, “Oddity” is a chilling moral fable where sinners experience the consequences of their actions with precise and terrifying retribution. If fortune favors us, Darcy’s curio shop could be the wellspring for numerous more tales from Mc Carthy in the future.

6. It’s What’s Inside

The reunion game night among friends, orchestrated by Greg Jardin, turns into a horrifying sci-fi nightmare. In this movie, a troubled couple, Shelby (Brittany O’Grady) and Cyrus (James Morosini), on the brink of separation, join their pals Dennis (Gavin Leatherwood), Maya (Nina Bloomgarden), Brooke (Reina Hardesty), and Nikki (Alycia Debnam-Carey) at Rueben’s (Devon Terrell) old mansion. The unexpected arrival of the enigmatic Forbes (David W. Thompson), a friend with whom many of them had a falling out during a notorious college party, stirs discomfort but also excitement as he presents a new invention – a device allowing body swaps.

Initially intended as an amusing game to uncover one another’s true identities, it gradually transforms into a tumultuous night of revisited pain, hidden truths, unfulfilled affection, and resentment as alliances are formed, schemes are meticulously orchestrated, and emotions are shattered. As the evening progresses, chilling discoveries follow suit – bodies start appearing mysteriously.

Inside What’s Hidden is an exhilarating whirlwind of clashing personalities, where Thompson shines as Forbes, a character that straddles the line between a more disturbed Willy Wonka and a maniacally depressed Riddler, exhibiting both captivating charm and chilling terror. Jardin’s unique directorial style sets him apart in the genre realm currently, and his ability to handle such a complex and continuity-heavy film only adds to the intrigue, making him an incredibly exciting new talent who brings a breath of fresh air to the genre.

5. Late Night with the Devil

In the much-anticipated role he deserves, actor David Dastmalchian steps into the limelight as the lead in Colin and Cameron Cairnes’ film titled “Late Night with Devil”. Set in the 70s, the movie follows Jack Delroy, a struggling late-night talk show host, who aims to increase ratings by hosting a Halloween special. Combining documentary and found footage styles, “Late Night with the Devil” offers an exclusive look at the making of the notorious Halloween show while also exploring the heartbreaking demise of Delroy’s wife and his ensuing connection to The Grove, a California wellness retreat.

As a seasoned paranormal enthusiast who has spent years investigating unexplained phenomena, I find the plot of this Halloween night episode to be particularly intriguing and relevant. The story revolves around a girl allegedly possessed by supernatural forces, a theme that resonates with my own experiences in the field. The protagonist, Lilly (Ingrid Torelli), is a survivor of a mass cult suicide, which adds an extra layer of mystery to her character. Her guardian, June Ross-Mitchell (Laura Gordon), is a parapsychologist and author, making her a credible figure in the world of the supernatural.

The presence of Delroy and Ross-Mitchell, accompanied by stage psychic Christou (Fayssal Bazzi), former magician turned supernatural skeptic, Carmichael Haig (Ian Bliss), and Delroy’s sidekick, Gus McConnell (Rhys Auteri), adds a diverse group of experts to the mix. Each character brings their unique insights into Lilly’s psychic abilities, which I believe will contribute to a rich and engaging narrative.

The unfolding of events on set, as well as the subtle, blink-and-you’ll-miss-it imagery that seems to tap into the subconscious, piques my interest and leaves me eager to see how Jack’s relationship with The Grove will be exposed. Overall, this episode promises a thrilling exploration of the paranormal, blending fact and fiction in a way that only the best horror stories can do. I can’t wait to watch it unfold!

In some scenes of “Late Night with the Devil,” AI was employed to enhance set decoration and advertisements, which was subsequently refined in collaboration with the graphics and design team, as confirmed by Cairnes. This technique, however, raises a question mark over an otherwise remarkable film. Viewers are divided on whether this use is justifiable or not. I choose to view it as a valuable learning experience for the filmmakers, one they can apply in future projects. The meticulous recreation of the ’70s ambiance by the designers, actors, and crew should be commended. With its gripping script and chilling exploration of fear, “Late Night with the Devil” delivers an unforgettable performance.

4. Crumb Catcher
Chris Skotchdopole’s “Crumb Catcher” offers a witty perspective on what I fondly call the “unexpected visitors at your doorstep” genre. It explores the strains of themes such as social class, professions, race, gender, economic systems, and property rights.
During their honeymoon at a secluded cottage, the couple, Shane (Rigo Garay) – a writer – and Leah (Ella Rae Peck), find themselves already harboring tension due to Shane’s inebriated state on their wedding night, leaving him unable to recall events. Additional sources of friction include Shane’s apprehension about the book deal Leah facilitated, Leah’s choice not to invite Shane’s father to the wedding, and her feelings regarding joint ownership of Shane’s career, causing further strain in their relationship.
A heated situation unfolds when an unexpected visit finds the persistent waiter John (John Speredakos), hailing from their reception area, standing at their doorstep, carrying a unique invention. Alongside him is his girlfriend, Rose (Lorraine Farris), who not only worked in the reception but also tended bar. John threatens to expose events that occurred during Shane’s blackout, in an attempt to extort them, as their involvement is crucial for the success of his groundbreaking invention, The Crumb Catcher. Without their partnership, he warns, there will be no financial backing or publicity for his remarkable creation.
In the beginning, John and Rose’s unusual interactions create a strange and awkward social dance, but as time passes, the situation spirals out of control into chaotic madness. Shane and Leah are thrust into a life-threatening struggle. Darkly comic, socially relevant, and surprisingly heartfelt, even amidst its violent scenes, Crumb Catcher stands out as a testament to indie filmmaking, demonstrating the power of an original concept, skilled partners, and a director who finds truth in the chaos that life can create.

3. Red Rooms

The void is tinged red, and it seems to gaze back. Film director Pascal Plante provides an unsettling and disquieting perspective on internet anonymity and the growing fascination with true crimes in his film “Red Rooms“. As the trial of serial killer Ludovic Chevalier (Maxwell McCabe-Lokos) unfolds, it becomes a sensational media event that draws in those eager for his conviction and punishment, as well as those who suspect him of being falsely accused. The trial also introduces Kelly-Anne (Juliette Gariepy), a model with no distinct personality, who becomes entwined in the narrative surrounding Chevalier and his live-streamed murders of three teenage girls on the dark web. When a young woman named Clementine (Laurie Babin) believes she’s found a sympathizer who shares her belief in Chevalier’s innocence in Kelly-Anne, she becomes enmeshed in the mystery of her new friend.

The mystery surrounding the Red Rooms lies in its enigmatic nature, with many aspects unclear and unexplained, which adds an intriguing layer to the film. By maintaining a certain distance between us and the characters, our minds fill in the blanks – their backgrounds, personalities, and moral standings. It’s only later that we realize our assumptions might be misguided, as the people we initially thought were one way turn out to be quite different.

This film might be challenging for viewers seeking clear resolutions and character explanations, as it often sparks further questions instead. Director Plante skillfully handles this complex terrain, demonstrating the finesse of a seasoned filmmaker. He knows just when to pull us back when we’re eager for more details and push us closer when we yearn for some distance. A particularly chilling and unforgettable scene involves Kelly-Anne photographing in the bedroom of one of the murdered girls; it stands out not because it clarifies anything, but because it leaves us pondering who Kelly-Anne truly is – just when we think we’ve found an answer.

Featuring captivating performances by Gariepy and Babin, accentuated by a gripping soundtrack from Dominique Plante, Red Rooms offers an intriguing exploration of identity submerged in true crime, provoking thoughts on whether the pursuit of truth through confronting evil may cause more harm than good. In Kelly-Anne’s situation, it seems there might have been no identity to start with, merely a template of human behavior reminiscent of Patrick Bateman from American Psycho, as he poignantly stated, “I am not there.” The void left by that hollow consciousness is utterly chilling.

2. I Saw the TV Glow

As a captivated admirer, I can’t help but express my awe for Jane Schoenbrun’s latest masterpiece, “I Saw the TV Glow.” This film offers a chilling exploration into the realms of identity, daring to delve into the mysteries of who we were, and potentially who we might transform into. Remarkably similar to their previous work, “We’re All Going to the World’s Fair,” this haunting narrative doesn’t shy away from the darkness, yet it manages to weave in a glimmer of hope, even when that hope seems to defy the very fabric of reality. The message is clear: “There is still time.

“The film revolves around two misfits from high school, Owen (Justice Smith) and Maddy (Brigette Lundy-Paine), who find common ground in their shared love for the mysterious supernatural TV series, The Pink Opaque. This show follows the story of two psychic teenagers, Isabel (Helena Howard) and Tara (Lindsey Jordan), as they fight against Mr. Melancholy and his weekly monsters, who have the power to distort time and reality.

Fast forward to years later, Maddy mysteriously reappears in Owen’s life after being missing. She claims she spent eight years trapped within the show itself, and that the world Owen now lives in isn’t genuine. She further asserts that Owen himself is not who he is supposed to be. This bombshell revelation puts immense pressure on Owen, potentially tearing him apart or setting him free. Imagine it as a horror adaptation of The Matrix, where instead of red pills, the protagonist keeps taking blue ones.

Previously this year, I came across an opinion suggesting that the movie lacks anything for cis individuals to appreciate. However, I find myself at odds with this viewpoint as I saw strong themes related to dysphoria and trans identity in the film, much like how they were portrayed in “The Matrix.” It’s not my place, being a cisgender male, to discuss personal experiences of trans identity, but I can say that these themes resonated with me, albeit not universally. Instead, I encourage those interested to explore various trans perspectives on the movie, such as Harmony Colangelo’s essay. For myself, “I Saw the TV Glow” delves into the concept of nostalgia and the haunting, dreamlike world that resonated deeply with many of us who grew up in the ’90s.

Do Shows Like ‘Goosebumps’, ‘Eerie, Indiana’, and ‘So Weird’ Stir Memories Within You? TV Glow aims to recreate the atmosphere of that era on television, tapping into a feeling we yearn to revisit. But why do we long for this nostalgia? Is it the sense of security and comfort? The allure of possibilities? Or perhaps it’s the dream-like battles we could tackle easier than the nightmares of adulthood? I believe that facing Mr. Melancholy, a tangible entity, might be less challenging than grappling with melancholy as an emotional state or societal condition.

1. The Substance

In this reimagining, Coralie Fargeat’s groundbreaking body-horror film, titled “The Substance,” explores profound pain, abundant blood loss, and the burdens of femininity in horror cinema of 2024, mirroring Eggers’ Nosferatu. It’s not surprising that Eggers has commended Fargeat’s work. The film centers on Elisabeth Sparkle (Demi Moore), a once-famous Hollywood actress who now finds fame as a popular TV aerobics instructor. After her show is canceled on her 50th birthday, Elisabeth crashes her car and discovers an opportunity to regain her youth through an advertisement for the Substance – an illegal serum touted as offering a “younger, more beautiful, more perfect you.” However, this miracle treatment comes with severe consequences if not used correctly. Desperate to regain the limelight she had lost, Elisabeth takes the substance and from a wound on her back, she gives birth to Sue (Margaret Qualley), who carries Elisabeth’s consciousness for seven days before the transfer must occur without fail.

After Sue replaces Elisabeth as the host of her aerobics show and quickly gains fame, Elisabeth starts to misuse a harmful substance while in the role of Sue for an extended period, which leads to severe consequences within Elisabeth’s unconscious mind that Sue keeps locked away in a bathroom closet. Despite the fact that Elisabeth and Sue are actually the same person, a conflict arises between them, symbolizing Elisabeth’s internal struggle and self-loathing, which eventually transforms into a monstrous form – a testament to practical special effects.

As a woman who has spent most of her life navigating through societal beauty standards, I found “The Substance” to be a refreshing take on female aging and the superficial world of celebrity. However, I want to focus on its brilliance as a body horror film instead, because oh boy, was it a blast!

Yes, the movie delves deep into the heart-wrenching tragedy of its characters, particularly in The Substance. But what sets this film apart is its clever use of humor and absurdity to critique the industry. The idea that the pinnacle of fame lies in hosting an aerobics show and a New Year’s Eve party had me chuckling throughout. Dennis Quaid’s character, Harvey, with his excessive shrimp consumption and lecherous gaze at the New Year’s Eve dancers, was nothing short of hilarious.

The over-the-top, gory finale was both sad and revolting, but I couldn’t help but laugh at its audacity. It was a perfect encapsulation of the absurdity and excess that often characterizes Hollywood and the entertainment industry as a whole. All in all, “The Substance” offers a unique blend of tragedy, humor, and horror that makes it a must-watch for anyone interested in exploring these themes.

Fargeat doesn’t make light of aging and beauty standards with contempt, but rather she acknowledges their absurdity – an absurdity that people still invest greatly in. Contrary to popular belief, her work often evokes body horror, but it’s not Cronenberg-like. Instead, it resembles the more humorous and over-the-top horror styles of directors like Peter Jackson, Brian Yuzna, and Screaming Mad George’s special effects. Remarkably, a film with such grotesque elements is being produced today, receiving mainstream acclaim and even critical recognition during award seasons. This could mark a significant shift in the mainstream, as what was once considered old-fashioned is now reborn anew.

Notable Entries: Eccentric Charms, Riffraff, Blackout Sessions, Mr. Rascal, In Harm’s Way, Dairy Drama & Serial Killings.

Moving forward to the upcoming year, some anticipated horror movies include: “Wolf Man”, “Accomplice”, “Love Eyes”, “The Abyss”, “The Undead Creature”, “Monkey Business”, “Vicious Circle”, “Woman in the Yard”, “Sinners Anonymous”, “Ritual of Darkness”, “Until Dawn Again”, “Death of a Mythical Creature”, “Clown in the Fields”, “Final Destination: Bloodlines Revisited”, “28 Years Later Reimagined”, “M3GAN 2.0: Return”, “Fear Street: Prom Queen Redux”, “I Know What You Did Last Summer’s Sequel”, “The Conjuring: The Last Sacrament”, “Him Again”, “The Bride Returns”, “Black Phone 2: The Hunt”, “Predator: Badlands Unleashed”, “Five Nights at Freddy’s 2: Electric Boogaloo”, and “Guillermo del Toro’s Frankenstein Revisited”. Many more are still unannounced. See you later, and as always, keep the fear alive!

2024-12-31 22:29