As I delve into these intriguing narratives, I find myself captivated by the depth and complexity of the characters and their journeys. The lives they lead are as enthralling as they are unsettling, and I can’t help but draw parallels between them and our own existences.
As a horror enthusiast, I can’t help but notice that there are hidden gems in every subgenre of the horror world. Some films, such as the 1960 cult classic “Carnival of Souls” or the underrated modern title “Alone,” were initially overlooked during their initial theatrical or home video releases but have since gained both critical acclaim and a dedicated fanbase. Other examples include the British-French-Canadian survival thriller “Cold Meat” and the intense Western horror-adventure film “Bone Tomahawk.” Even movies that received negative reviews on platforms like Rotten Tomatoes, such as “Halloween III: Season of the Witch” and the harrowing “White of the Eye,” are worth watching for those who appreciate a good scare.
Among the multitude of streaming platforms that continuously expand, offering a vast array of movies daily to viewers, lie some exceptional spots to discover overlooked horror films. Here are a few underrated horror masterpieces readily available for your viewing pleasure on one of today’s most sought-after services, Amazon Prime.
The Brides of Dracula
1958 saw Hammer Films achieve a global box office success with the release of “Horror of Dracula.” With the project’s follow-up, there was a predicament: Christopher Lee, who played Dracula in the original film, either declined or couldn’t participate in the sequel (sources vary). Despite this setback, Hammer Films kept Peter Cushing on board as Van Helsing and moved forward with “The Brides of Dracula,” casting David Peel as a captivating follower of Count Dracula.
Although Lee was not present, “The Brides of Dracula” is considered one of Hammer’s top vampire films. According to historian Richard Harland Smith for TCM, this movie moves swiftly from start to finish with sharp direction by Terence Fisher. Peter Cushing plays the central role, displaying both action and academic prowess in his confrontations against Peel’s Baron Meinster and his vampiric brides, creating a suspenseful atmosphere reminiscent of pulp serials. The horror scenes are also expertly executed, with a particularly chilling scene involving Freda Jackson as the Baron’s servant, summoning a new bride from her grave with an evil cackle. Additionally, Amazon offers streaming for other Hammer horror classics featuring Peter Cushing, such as “Night Creatures” (1962), “The Vampire Lovers” (1970), and “Twins of Evil” (1972).
Violett
In simpler terms, Violett (Valentina Blagojevic) is a young girl residing in a picturesque Australian town. Her mother, Sonya (played exceptionally by Georgia Evers), feels that her daughter is destined to die due to some dark beliefs stemming from past traumas and recurring hallucinations. As Sonya navigates through life as if walking on a minefield of nightmares, she perceives ordinary people and objects as supernatural threats, such as an old woman becoming a witch or a street artist transforming into a frightening ghoul. Given her perception, how can Sonya safeguard her daughter? She can’t, but the identity of the menacing figure turns out to be shocking and heartbreaking.
In the movie “Violett,” directed by Australian filmmaker Steven J. Mihaljevic, dark shadows, vibrant primary colors, and a stark portrayal of bleakness are used to reflect Sonya’s warped perception. Her world, alongside Violett, seems to radiate with optimistic power, while her fears manifest into vivid, eerie nightmares reminiscent of a child’s imaginings. At the core of the 2023 film lies an emotional exploration of the devastating impact of mental abuse and how some victims unknowingly inflict their own trauma upon those they strive to shield.
The Taking of Deborah Logan
“The 2014 movie ‘The Taking of Deborah Logan’, a supernatural thriller in the found footage genre, is often overlooked but demonstrates that this type of horror film can still give you goosebumps even after the ‘V/H/S’ series. At first, the story follows a typical pattern: A film crew making a documentary about Alzheimer’s disease finds their elderly subject, Deborah Logan (played by Jill Larson from soap operas), displaying symptoms that don’t align with her condition, such as suddenly speaking new languages. Initially, these behaviors are brushed off as part of the disease, but the crew soon starts to suspect that something supernatural is going on.
In his first directorial attempt, Adam Robitel, known for “Escape Room”, demonstrates a commendable amount of self-restraint in the movie “Deborah Logan”. He skillfully avoids clichés often found in found footage films like jump scares, unintelligent characters, or frightening occurrences that occur off-screen. Instead, he maintains a connection to the real world by keeping the narrative slow and deliberate. A three-person camera crew, accompanied by Deborah’s troubled daughter Sarah (Anne Ramsay from “Mad About You”), meticulously examines the evidence at hand, only revealing anything supernatural when there is no other plausible explanation. This careful approach ultimately proves effective in the climax as Robitel delivers some genuinely unsettling visuals.
Possum
In this 2018 psychological thriller titled “Possum,” the titular character is a grotesque marionette featuring a spider-like body and a human head with wide, staring eyes. This unsettling object would be something most people would want to discard immediately, but the protagonist Philip (played by Sean Harris from “Mission: Impossible – Fallout”) finds himself unable to let go of it. A troubled orphan, Philip returns home in an effort to get rid of Possum, but instead, each attempt only serves to bring it back and further entangle him in the traumatic events of his past that he’s worked hard to suppress.
Matthew Holness, the writer-director renowned for “Garth Marenghei’s Darkplace,” uses a somber visual and auditory tone reminiscent of 1970s educational films as the backdrop for his work. Notably, the score is composed by BBC Radiophonic Workshop, known for providing otherworldly music for shows like “Doctor Who.” However, unlike a mere exercise in nostalgia, “Possum” delves into the long-lasting and devastating effects of trauma, exploring how it alters one’s perception of reality. Much like “Violett,” its most harrowing moments are marked by pain, sorrow, and fear.
Amulet
2020 saw me diving headfirst into “Amulet,” a haunting directorial debut by the talented Romola Garai that left an indelible mark on my nightmares, both in its visuals and symbolism. As a traumatized soldier named Tomaz, played by Alec Secareanu from “God’s Own Country,” I found myself living in squalor in London until I encountered Sister Claire, a nun (Imelda Staunton), who offered me work helping a woman (Carla Juri) with her dying mother. However, what I uncovered was far from ordinary – an insane old woman residing in the attic, who occasionally gave birth to albino monster bats! Discovering these creatures clogged in a toilet is sure to reignite any long-forgotten fears of bathroom horrors you thought were buried deep.
In contrast to being solely a creature-focused film like David Cronenberg’s work, “Amulet” carries a far greater purpose. The old woman and the bats serve a sinister role connected to otherworldly retribution for wrongdoings against women. As the story unfolds, it becomes apparent that Tomaz falls under this category of offenders. This additional layer adds depth, stylish visuals, and an unsettling chill to Garai’s movie, which The Hollywood Reporter praised as a “skillfully crafted neo-Gothic film with a strong hand and captivating imagination.
The Innkeepers
Instead of the chaotic terror found in his “X” trilogy, “The Innkeepers” offers a chilling silence from director Ti West, who reimagines the traditional ghost story for contemporary audiences. The story unfolds at Connecticut’s actual, supposedly haunted, and now closed Yankee Pedlar Inn, where West claimed to have encountered supernatural events during the production of “The House of the Devil” in 2009. In this film, Sara Paxton and Pat Healy portray inn workers Claire and Luke, who pass the time by exploring ghostly legends on the premises.
The events that unfold are more about discovering a spirit rather than seeking one, encompassing all that comes with it. It’s well-known that the Yankee Pedlar Inn is haunted, as confirmed by an actress turned psychic (Kelly McGillis) and a witty local barista (Lena Dunham). However, Claire and Luke don’t understand – until it’s too late – that ghosts are not the benign, translucent beings portrayed on their favorite ghost-hunting TV shows and websites. Filled with impressive acting, particularly from McGillis and the underestimated Paxton, “The Innkeepers” demonstrates, as the Austin Chronicle stated, that West is a “skilled practitioner of the gradual, chilling sensation.
Good Boy
Consider the 2023 Norwegian film ‘Good Boy’ as a twisted reflection of ‘Fifty Shades of Grey.’ The story revolves around Sigrid (Katrine Lovise Øpstad Fredriksen), a young graduate student, who encounters Christian (Gard Løkke). Like his counterpart from ‘Fifty Shades,’ he’s attractive, wealthy, and hides a secret. However, this Christian’s peculiarity lies in his close bond with Frank, a friend who is disguised as a dog named Frank, but whom Christian persuades Sigrid to treat as a genuine pet, despite the fact that Frank is actually a man (Nicolai Narvesen Lied) in a dog costume.
A film similar to “Good Boy” could follow two paths: it could capitalize on its quirky, humorous concept by featuring a man in a dog costume (as seen in Elijah Wood’s short-lived sitcom “Wilfred”), or it could delve into unsettling themes involving mental illness and control. Director Viljar Bøe opts for the latter route, creating an increasingly eerie and disconcerting experience that might even discourage you from using dating apps ever again.
The Deeper You Dig
2019’s indie film “The Deeper You Dig” is one of several independent horror productions helmed by John Adams, his wife Toby Poser, and their daughter Zelda Adams, with sister Lulu Adams, another regular participant, being unavailable at the time. Despite being an Adams Family production (note the spelling), their films are not mere dark comedies. Instead, they consistently create visually captivating movies on a shoestring budget that often surpass studio productions in terms of eeriness. “Deeper” follows this trend: it features John as a solitary character named Kurt who attempts to conceal his accidental killing of the gothic teen Echo (portrayed by Zelda), but finds her spirit refuses to remain silent, especially when confronted by Ivy (Poser), a woman with psychic abilities.
Once more, “Deeper” delves into the chilling themes of guilt and deceit, surpassing its minimalistic production with outstanding acting and remarkable special effects. It’s not for the faint-hearted, as it is brutally gory in parts – a scene involving John and a power saw will leave you astonished – and it fearlessly tackles sensitive subjects (the title alludes to John’s desperate efforts to bury Echo’s body in the frosty soil). As acclaimed critic Kim Newman remarks, the film carries an inherent unsteadiness that disrupts the suspense but creates unexpected, poignant forest enchantment.
Antrum: The Deadliest Film Ever Made
There’s hardly any chance that watching the 2018 Canadian movie titled “Antrum: The Deadliest Film Ever Made” will result in your downfall, but it might leave you astonished by its cunningness. In reality, this film is a pair of stories: First, a fake documentary chronicling a Bulgarian production that allegedly killed many viewers, and second, an authentic reproduction of a gritty 1970s horror flick about siblings who resort to black magic to resurrect their deceased pet dog from the underworld, unknowingly releasing malevolent powers. The film incorporates hidden visual and auditory elements (including snippets from a supposed snuff film), which contribute to its ominous reputation.
The idea of a cursed media object is well-worn; H.P. Lovecraft’s Necronomicon dates back to the 1920s and John Carpenter envisioned a cursed film for “Cigarette Burns,” an episode of “Masters of Horror” in 2005. In most cases, the entire object is rarely available to view — it is dangerous, right? — so writers/directors David Amito and Michael Laicini present an irresistible gambit. To see what makes “Antrum” the deadliest movie ever made, you have to watch the whole thing, but in doing so, you put your life at risk. Only the most cynical genre fan could refuse such a proposal, and “Antrum” delivers as both a horror movie and a creepy audience participation project. According to The Guardian, “Even knowing and appreciating the artifice doesn’t entirely deprive the film of its eerie power.”
The Woman
“The Woman,” directed by Lucky McKee, presents an intense exploration of civilization. The main character, portrayed by Pollyanna McIntosh from “The Walking Dead,” is a lone survivor of a cannibal tribe. She’s captured by Chris Cleek (Sean Bridgers), who appears to be a normal small-town family patriarch. However, as the Woman and viewers uncover, his idea of civility involves torture, domination, and mistreatment – abuses that he and his son Brian (Zach Rand) also inflict on their own family members.
In a remarkable return, McIntosh shines once more in her portrayal of a character from the 2009 film “Offspring,” similar to “The Woman.” Both films are based on novels by the late Jack Ketchum, with McKean also contributing to both the script and source material for “The Woman.” Ketchum’s work was characterized by intense violence, and “The Woman” is no exception – it garnered attention for walkouts during screenings at the 2011 Sundance Film Festival. However, Ketchum and McKean also challenge the hypocrisy of those who claim moral superiority. McIntosh reprised her role as the Woman in “Darlin’,” released in 2019, where she also served as director. The film focuses on the Cleeks’ eldest daughter (Lauren Ashley Carter), following the events from the previous movie.
The Dark and the Wicked
One way of rephrasing the given text could be: “Twin emotions like grief and guilt, often seen as driving forces in horror films (some of which are featured here), powerfully influence this gradually escalating supernatural thriller directed by Bryan Bertino (‘The Strangers’). It revolves around two siblings, Marin Ireland and Michael Abbott, Jr., who grow convinced that supernatural entities are behind their family’s deterioration. They hesitate to go back to their childhood home, but their concern about leaving only intensifies, particularly after their mother exhibits bizarre behavior (such as self-mutilation and suicide) and their father’s health worsens. Unfortunately, this indecision proves fatal.
Bertino swiftly and eerily sets up a chilling scenario for the siblings, involving apparitions of their deceased mother, a distant priest (Xander Berkeley), and the demise of the family’s goat herd. However, the siblings find themselves frozen in place by bewilderment, sorrow, and fear, leaving little room for any response – it might be that there was never an opportunity to act, or perhaps none ever truly existed. Bertino skillfully withholds information but delivers shocking scenes without mercy; as Eye For Film noted, “The Dark and the Wicked” is akin to a haunting campfire tale, meant to be shared among frightened companions – yet like many ancient stories, it provides no solace or comfort.
Stopmotion
In the 2023 movie “Stopmotion,” Ella (played by Aisling Franciosi) is a gifted animator who has been relegated to the background for years while assisting her mother Suzanne (Stella Gonet), a renowned filmmaker but also an abusive parent, in completing her last stop-motion animation project. So deeply oppressed is Ella that when her mother passes away, she can only focus on one thing: completing her mother’s unfinished film.
However, the appearance of an enigmatic girl (Caoilinn Springall) diverts Ella from her usual path: She encourages Ella to collaborate on a novel animated venture, focusing on a young girl and a creature named Ash Man. The girl’s ideas become increasingly disturbing and bizarre — incorporating decaying meat and deceased animals into the figures — yet as Ella becomes more captivated by the limelight, she finds herself unwilling to reject her unusual proposals.
The uncanny qualities of stop-motion, which gives something like life to an inanimate object, serve as an apt metaphor for Ella’s sleepwalking existence. She’s so damaged by her mother’s dominance that it’s no wonder that her dream project is a nightmare populated by misshapen monsters. “Each element moves in lock stop to forge a deeply troubling intimacy between Ella and her repellent figurines,” wrote The New York Times.
Humane
The director of “Infinity Pool,” Brandon Cronenberg, isn’t the only one among David Cronenberg’s offspring to tread in their famous father’s distinct footprints. Photographer Caitlin Cronenberg ventured into feature film direction in 2024 with “Humane,” a chilling science fiction movie that delves into dark satire, exposing humanity’s unsavory instincts during disasters, and like the family’s common theme, it delves into the terrifying realm of Horror.
In the storyline of “Humane”, the catastrophe unfolding isn’t just apocalyptic but equivalent to the end of our world, brought about by ecological devastation. The solution proposed is drastic: a reduction of 20% in population via voluntary (although compulsory) euthanasia. Those who comply are lauded as heroes, an accolade that seems fitting for Charles York, the self-important news caster played by Peter Gallagher. However, this doesn’t sit well with his argumentative offspring, who learn from a government representative (Enrico Colatoni) that another sacrifice is inevitable. This revelation sets off a wave of violent chaos.
In this rephrased version, Cronenberg uses an impressive cast, including Jay Baruchel and the return of Emily Hampshire from “Schitt’s Creek”, to portray our journey into primal behavior. The movie, titled “Humane”, shares some characteristics with his father’s masterpieces – notably the unyielding nature of science and the natural world. Simultaneously, it solidifies her as a distinctive filmmaker in her own right.
The Eyes of My Mother
Several movies on this list suggest that monsters are not naturally occurring beings; they are created. Let’s include “The Eyes of My Mother” in this category. In the film, a young girl named Francisca (initially portrayed by Olivia Bond and later by Kika Magalhaes) lives a secluded life centered around religion, anatomy, and minimal human contact beyond her peculiar parents. When a psychotic individual murders her mother, followed by her father’s death while seeking vengeance, Francisca’s mind begins to spiral into darkness. With no one else around, she finds solace in her confinement, perceiving imprisonment as love, torment as care, and affection as a deadly force.
In Nicolas Pesce’s 2016 movie, cinematographer Zack Kuperstein captures striking black-and-white visuals that portray both enchanting landscapes and chilling deaths with a tranquil calmness and haunting allure. Moreover, the character Francisca, despite her horrific actions, is not purely wicked; having grown up in an unconventional environment, she is merely reacting to her circumstances using the resources at her disposal. As horror critic Alexandra Heller-Nicholas put it on The Blue Lenses, “This isn’t a simple or comfortable watch, but ‘The Eyes of My Mother’ is a profoundly intelligent, significant, and exceptionally beautiful horror film, making it one of the genre’s most impactful releases of 2016.
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2024-10-08 06:31