Horror movies

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

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

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

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

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

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

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

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

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

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

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

IMDb

Warning: spoilers ahead!

The Danish director of the original Speak No Evil has hit out at the new remake for rewriting the “entire ending”, saying: “I don’t know what it is about Americans”.

Speak No Evil – which is an American remake of the 2022 Danish film of the same name – was released in cinemas on September 13. Written and directed by James Watkins (The Woman In Black, Eden Lake), the film stars James McAvoy, Mackenzie Davis, Aisling Franciosi and Scoot McNairy.

Now, the director of the original, Christian Tafdrup, has criticised the film’s remake for a number of significant changes.

The remake changes the nationalities of the families to British and American and Watkins has divided fans by completely changing the ending to the film.

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

Like any major horror franchise worth its salt, A Nightmare on Elm Street has inspired a whole host of other movies, for better or for worse. Ever since the release of the first film to feature the dream-invading Freddy Krueger in 1984, the slasher genre was never the same, with an all-new breed of smack-talking supernatural horror villain now prowling theaters. The success of all nine Nightmare on Elm Street movies came amid a wave of imitators taking heavy inspiration from the original film.

Movies that take ideas from A Nightmare on Elm Street vary wildly in their obviousness. Some of them recycle a similar concept of an astrally-projecting or nightmare-causing slasher villain like Freddy Krueger, or even simply the very theme of a dream and sleep-oriented horror story. Other times, the influence is less than a variation on a theme and more of a blatant copy, with motifs as specific as Freddy Krueger's signature fedora, melted face, or bladed glove being ripped off.

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

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

Doubling down on their point, Qualley finished Moore’s thought during a brief joint interview. “Demi is one of those people that makes you feel like you know her right away because she’s so warm and open and just so herself. It was an absolute pleasure working with her and being able to hold her hand while walking through the fire.”

To find out what she means by fire, you’ll have to check out The Substance when it opens this weekend courtesy of Mubi. But on the subject of reveals, Fargeat was clear during her red carpet interview that she made sure to not leave any tricks up her sleeve when she pitched the movie to Moore a few years back.

“I really wanted to be sure that she 100 percent understood the movie before jumping in,” explained the Revenge auteur. “I wanted her to know exactly the type of filmmaking it would be, the level of nudity that the part required, the conditions of shooting an indie film in France and the length of the production. I wanted to be sure that she had a very clear picture in her mind so that she could make the right decision for herself and for the film.”

To her surprise, Moore agreed and Fargeat said she couldn’t have found a more collaborative and fearless partner on the film, which has screened at festivals in Cannes and Toronto ahead of its wide release. “I discovered someone that I didn’t knew before, someone who is very rock and roll, very instinctive, very risk taking and very innovating,” Fargeat praised of her leading lady. “She thinks out of the box, and more importantly, she has very strong instincts. And I think she felt like the film was something special, that it was something very new for her. But that could bring something very strong if it was succeeded to be good.

Fargeat continued: “Demi just went for it. She said, ‘Let’s go.’ She doesn’t care anymore and is having an ‘I don’t give a fuck moment.'”

There's nothing that can beat a good horror performance. Usually, the attention and praise go to victims who overcome the threat of monsters and gather the necessary empathy to make viewers cheer for them. However, a good villain can have a performer solid enough to win over the hearts of audiences.

In the case of the following performances, they stand out because they added an element of authenticity and sheer terror, regardless of how horror is seen in today's industry. The term is controversial, but they elevated the movies by personifying pure evil in films that were already scary. These are the ten perfect villain performances in modern horror.

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

Abbott shared his excitement about the film, focusing on the old-school techniques used to create the titular monster. “It was a lot of prosthetics, a lot of time in the prosthetics chair. We did it old-school style, which I appreciate,” Abbott revealed. The actor praised Arjen Tuiten, the designer behind the werewolf creature, noting the balance between beauty and horror. “I thought [he] designed a scary, beautiful, but tragic-looking creature for it. I’m really excited for people just to see that work,” he added, hinting at the emotional depth of the film. Abbott teased that Wolf Man is not just a standard horror flick but one with layers of fun, fear, and tragedy

Keoghan chimed in, expressing his own admiration after watching the trailer, “It’s amazing. I just watched the trailer.” His enthusiasm for the project seemed to mirror Abbott’s excitement, adding to the anticipation building for Whannell’s next spooky feature.

Teaser

Breaking Glass Pictures is releasing the horror comedy Hayride to Hell on the road to Halloween, and Bloody Disgusting is exclusively debuting the film’s official trailer today.

Starring horror legends Bill Moseley and Kane Hodder, who previously worked together on Old 37, Hayride to Hell will be released on Digital and On Demand on September 24.

Take a ride on the Hayride to Hell by watching the official trailer below.

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“Set on the Coxe Family Farm in rural Willis County, Farmer Sam (Bill Moseley) exacts his bloody revenge on unscrupulous local town-folk, including Sheriff Jubel (Kane Hodder), who menace him and attempt to steal the farm that has been in his family for 200 years.”

Trailer

IMDb

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

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

Get ready for a full load of face-melting gory goodness when Cineverse/Bloody Disgusting/SCREAMBOX reboot the 1987 cult classic Street Trash alongside Vinegar Syndrome, set to have its Los Angeles Premiere at the New Beverly Cinema on October 17th at 7:30 PM.

From director Ryan Kruger, whose first independent feature Fried Barry played dozens of film festivals worldwide, Street Trash follows a group of homeless misfits as they fight for survival when they discover a plot to exterminate every homeless person in the city.

“Our reimagining of Street Trash takes place in Cape Town, South Africa where the growing divide between rich and poor has changed the world as we know it,” says Kruger. “I was a huge fan of the original Street Trash when I was a kid, and I couldn’t be more thrilled to introduce a whole new generation to the melted gonzo goodness that made the original such a classic.”

...

“I’m excited to reinterpret the original story, update it to better reflect the times we live in and give it a new and original spin,” continued Kruger. “While our reimagining features new, exciting plot elements that give the film many bizarre twists and turns, the core of the film lies with our diverse and unique cast of characters. As a director, I am very character-centric and I can’t wait to see our strange and hilarious ensemble on screen together as they navigate the hostile streets of Cape Town. Our version of Street Trash will be raw, hilarious, packed with vibrant characters and multi-colored explosions of gooey greatness.”

“The original Street Trash was known for its dark humor, over-the-top gore, and surreal visuals, and we know the film is in the right hands with Ryan Kruger to push this remake even further,” said Brad Miska, Managing Director of Bloody Disgusting/Cineverse. “It’s frightening how relevant the social commentary continues to be after all of these years.”

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

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

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

Director Max Minghella (Spiral: From the Book of Saw, Horns) wears his cinematic influences on his sleeves with sophomore feature effort Shell, a body horror dark comedy written by Jack Stanley (The Passenger).

Elisabeth Moss (The Invisible Man) finds herself embarking on a scary new beauty treatment as aging actor Samantha Lake. She quickly befriends Zoe Shannon (Kate Hudson), CEO of health & wellness company Shell. When their patients start to go missing, including starlet Chloe Benson (Kaia Gerber), Samantha realizes Shell may be protecting a monstrous secret.

The escapist love letter to ’90s cinema leans into dark comedy, but embraces everything from Paul Verhoeven to Soapdish, Species, and Sliver, if that’s any indicator of genre range here. Bloody Disgusting spoke with Minghella, who made his feature directorial debut with 2018’s Teen Spirit, about the genre-bender out of TIFF, where the film had its World Premiere.

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

Dismissively tarred with the derisive label “torture porn” in the wake of its mainstream boom in the 2000s, torture-horror is in fact one of the most compelling and provocative horror subgenres. Although its roots date back much further, the subgenre gained notoriety after the 2004 launch of the immensely popular Saw franchise, with many subsequent horror films continuing its bloody legacy.

Exploring the limits of what the human body can endure, as well as themes of gender, power and political unrest, torture-horror is able to provide gruesome scares and compelling stories. These are 10 of the very best torture-horror films, showcasing the strengths of the surprisingly varied subgenre.

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

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

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

According to The Numbers, The Crow debuted in 2,752 North American venues on August 23 and ended its theatrical run on September 12 with a gross of $9,528 from 297 locations. During its domestic run, The Crow grossed nearly $9.3 million domestically and $6.2 million internationally for a worldwide tally of $15.5 million.

According to Variety, The Crow had a $50 million production budget before prints and advertising.

The Crow made its digital streaming debut via premium video on demand on September 13, a day after the film ended its theatrical run.

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

The 2010s were a good decade for horror, producing some of the genre's most innovative and boundary-pushing movies. The genre was revitalized with a resurgence in both quality and creativity. However, a handful of horror gems flew under the radar and didn't receive the appreciation they deserved.

This list highlights the 10 most underrated R-Rated horror movies. From the chilling internet scares of Unfriended: Dark Web to the claustrophobic terror of Green Room, where a punk band fights for survival against a group of neo-Nazis, these movies show the diversity, depth, creativity and quality of 2010s horror.

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