Top 3. 0 Best Horror Movies Of 2. Let’s take a look at the biggest and best horror movies of 2. The scary list features the usual mix of prequels (Prometheus), adaptations (Woman In Black) and original fare (Sinister). We’ll go through the good and bad to find the gems. Here’s our definitive guide to the best new horror movies, 2. JANUARY –The Devil Inside. Starring: Fernanda Andrade, Suzan Crowley, Simon Quarterman, Evan Helmuth. Director: William Brent Bell. Released: 6 January 2. U. S. Dates)A daughter travels to see her mother in an Italian hospital for the criminally insane, to find out why she brutally killed three people 2. There she recruits two young exorcists to use unconventional methods of science and religion in an effort to rid her mother of the powerful demons possessing her. The trailer is fairly effective, but I don’t trust the director of video- game horror movie . Also, this was filmed way back in December 2. The exorcism genre in particular can’t escape the fact it was all done much better 3. The line between this and . The directors of this 3. For starters the best action movie of the 21st Century is: FLASHPOINT directed by Wilson Yip and starring Donnie Yen. Other movies left out the list that should have. The 50 Best Horror Movies Of The 21st Century So. The 50 Best Sci-Fi Films Of The 21st Century So.Check out our lists of the best (and worst) movies of the century so far, ranked by Metascore overall and in a variety of genres. Here are a few examples of ways you can filter the charts: The Top 10 Witchcraft Movies of All Time; The Top 20 Witchcraft Movies of All Time; The Top 50 Witchcraft. The 50 Greatest Horror Films of the 21st Century. If I were to make my own list of the top 50 horror films of the 21st century. 60 greatest Star Wars characters, ranked from worst to best. D installment made . For fans only. Soon they are being hunted by a deadly pack. Looks like . For those who say the premise is totally unrealistic, a woman was killed by wolves in Alaska in 2. But what everyone’s most interested in is Neeson’s broken bottle knuckles, which he uses for self defense. The movie looks gruelling, entertaining and Neeson has basically got better and better with age. And from the footage so far, they’ve nailed the look of it. As he works alone in the client’s isolated house, he begins to uncover tragic secrets, and glimpse a freaky mysterious woman dressed only in black. Radcliffe’s well suited to this role, if a little too young. Jane Goldman (. Mysterious guests check in, including a former TV actress turned psychic (Kelly Mc. Gillis) and an old man insistent on staying in room 3. As several strange occurrences begin to add up, the employees must decided whether or not to believe in the supernatural rumours. Director Ti West’s previous horror . He says this will be “scarier”, with more jokes, and more mainstream. Hopefully he’ll continue to put atmosphere before quick edits and jump scares. The police don’t believe her, so she sets out to pursue the truth. Is she just mentally ill? Or is she somehow responsible? The trailer hints at a predictable and pretty dull plot – If the killer isn’t one of the cops I’ll eat my hat. From the writer of . The director is new to the genre. Looks like a rental at best. The 5. 0 Best Horror Movies Of The 2. Century So Far. 10. There were a few quality entries (“The Ring” features on this list for good reason), but that can’t be said for the 2. American take on Kiyoshi Kurosawa’s fantastic, incredibly sad apocalyptic story about ghosts in our machines. Kurosawa delves into the nature of our technological dependence and obsession, not so much fearing these new toys and “them kids with their internets” (an often unfair criticism against J- horror releases). Instead, he uses this brave new world to explore a basic, ultimate human fear: dying alone. What comes out in the end won’t leave you feeling warm and fuzzy, but it will leave an impact if you can get on the film’s peculiar wavelength. Though it only has a few moments of true terror, this film in particular stands out for being scary as hell, even out of context. But they must have been shocked into minor cardiac arrest when it also turned out to be totally brilliant, a bonkers and beautifully made genre picture that somehow ended up being a minor award phenomenon. The Oscar- winning Natalie Portman stars as Nina, a young ballerina marked for big things after the retirement of the company’s previous star (a meta- tastic Winona Ryder, who’d have played Portman’s part fifteen years earlier), but who can’t quite convince the director Thomas (Vincent Cassel) that she has the requisite darkness to play the Black Swan as well as the White in “Swan Lake.” But the arrival of a potential rival/lover Lily (Mila Kunis) seems to unleash a lingering darkness in the young ingenue. Melding Cronenbergian body horror with “All About Eve”- style melodrama, and shot with visionary control by Aronofsky, the film is weird, disturbing, hallucinatory and peculiarly beautiful, not least in its glorious climax. It’s still the director’s best film, and one of the classier horror pictures of recent years. But for her purest horror picture, you have to go back to “Trouble Every Day,” an oddity in the Denis canon, but no less terrifying for it. Unfortunately, the title “The Hunger” was already taken, as it does a solid job emphasizing the carnal rage with which Denis’ sojourn into more horrific territory is concerned. Along the French countryside, a curvy animalistic nymphomaniac (B. At the same time, two Americans (Vincent Gallo and Tricia Vessey) struggle to understand how they’ve arrived at this place of sensual longing and flesh- eating scientifically, while simultaneously struggling with how their passions seem both exactly the same, and, because of a lack of compatibility, completely opposite to their interests. An austere, immaculately researched period piece, complete with borderline incomprehensible New England argot and accents, it derives its terror from the vice- like grip the director has on the tone of doomy unease throughout. It’s the muddy, lived- in authenticity that Eggers brings, along with his extraordinary cast (Anya Taylor- Joy is the breakout, but Kate Dickie and Ralph Ineson are astonishing as her parents, while the goat who plays Black Peter is the G. O. A. T. Set within a family who’ve been excommunicated from their puritan village and tapping into early American era of religious mania, superstition, hypocritical piety and sanctimony, there are shades of fairy tales and folk stories within the film’s archetypes (the doomed baby; the little- girl- lost in the off- limits forest; the nightmarish monster that lurks within), but Eggers invests it all with a seriousness and a sobriety that in these po- mo, self- aware times comes as a breath of frightening fresh air. Juan Antonio Bayona’s “The Orphanage” is as close to a perfect ghost story as this list boasts, an uncanny tale that abounds in both physical, visceral shock moments and ratcheting gradual unease. Exquisitely mounted and shot so that while it’s contemporary, it almost feels of a period with “The Others” or “Pan’s Labyrinth,” the film is also elevated by a terrific central turn by the beautiful Belen Rueda, who brings a kind of earthy strength to the character of Laura that serves to ground the supernatural aspects of the plot. But most brilliantly, “The Orphanage,” for all it manifests classic horror movie set pieces (like the times we see the sackcloth kid Tomas and then he isn’t there, etc), derives its power and underlying emotion from real- life terrors. The connection to our past, the inescapability of our earthly fates and the unfairness and cruelty that children can both experience and visit on one another are all heady, resonant areas that Bayona expertly orchestrates. Yet for all the gut- punching horror and frightening revelations, the thing that makes “The Orphanage” truly great is just how sorrowful a film it turns out to be. Its perfectly poised ending (again, very reminiscent of the similarly knife- edge hopeful/tragic close of “Pan’s Labyrinth”) may leave us with a kind of acceptance, and on its way the film may have scared us silly, but after the credits roll and all the mysteries are solved, its beauty remains in its desperate, terribly human sadness. READ MORE: The 5. Best Action Movies Of The 2. Century So Far. 5. It’s one of the great movies, period. It’s also a rarity: genre geeks and arthouse snobs can mutually appreciate the work. Set in Stockholm in 1. Oskar (Kare Hedebrant) and his new neighbor Eli (Lina Leandersson), who’s just moved into the next- door apartment with a man who is presumably her (or possibly his) father. But as Oskar befriends her and other neighbors start dying, it becomes rapidly clear that Eli has supernatural abilities, but that won’t break the friendship up. It’s a coming- of- age film of rare feeling and power, capturing its era beautifully, but it also happens to be a gloriously splattery, almost Raimi- esque horror film, and Alfredson, who directs the hell out of the film (the swimming pool sequence remains legendary) somehow melds these two seemingly disparate elements into something nearly unique. Matt Reeves’ 2. 01. American remake “Let Me In” was improbably almost as good as the original, but you should still stick with the original. And then there is “The Host.” Bong Joon- ho. What starts as a fairly typical nature- gone- wrong tale (with some prickly political overtones), quickly evolves into something more, encompassing a handful of genres on its way to an ending so beautiful and atypical that you would never expect to see it in an American film. After the American military dumps hazardous toxins into the Han River (this bit is actually based on a historical footnote), a giant, amphibious creature emerges from the water and causes havoc, eventually spiriting away a young girl (Go Ah- sung). The girl’s family, led by her schlubby father (Bong regular Song Kang- ho), vow to retrieve her, and what follows is equal parts horror film, comedic family drama, satirical sci- fi and, well, fairy tale (in early scenes, it’s also a fascinating portrait of cultural differences when it comes to grieving a lost loved one). Everything about “The Host” is so, so satisfying. It’s dazzling enough that Joon- ho would attempt incorporating all of these disparate genres, but it’s another thing altogether that they all seem to hit. Abrams), but its quirky energy and tonal uniqueness has never been appropriated, let alone matched. Since then, you could make an argument that almost any of his films (even “Amour”) are horror films, or at least flecked with horror, but we reckon the truest example of the genre in the director’s output is his dystopian terrorfest “Time Of The Wolf.” The apocalypse has come and gone by the opening of the film, but that doesn’t mean that the worst is over. Far from it. Society is still crumbling around the central family, led by matriarch Anne (Isabelle Huppert), who are struggling to survive in a world in the aftermath of an catastrophe (drinking water is scarce and livestock are set aflame). And in the opening minutes, they’re robbed and have to watch as the patriarch (Daniel Duval) is murdered, forcing them to flee until they eventually come under the questionable protection of a tinpot despot played by Olivier Gourmet, who has control of the uncontaminated water. It’s about as much fun as you’d expect from a post- apocalyptic Haneke film —i. And what elevates it above something like “The Road,” and what makes it in our mind a horror film, are the hints that the director gives —without ever over- egging it— that he’s not really talking about some futuristic dystopia, but about the places in the world —Kosovo, Somalia, wherever— where people eke out desperate existences in circumstances all too similar to those of Anne and her family. Like the neon- rust drenched sequence in the film where Scarlett Johansson’s alien who fell to earth is overcome by the sheer magnitude of human goodness and emotion, there’s just so many kinds of films layered on top of each other in “Under the Skin” that trying to distill it down to one genre is a fool’s errand. Yet we feel comfortable calling it a horror movie, because it is deeply creepy and totally disturbing. Mica Levi’s fantastical, bewitching score does a lot of the heavy lifting in the creep- you- out department, but not enough praise can be bestowed on Glazer’s bold, experimental approach (using real people off the street for certain scenes, a reliance on visuals to tell the story, etc.) and Johansson’s career- best performance as an alien using her sexuality to prey on men for. With at least a dozen memorable, totally haunting moments singed into our memories for good (the baby crying helplessly on the shore as the tide approaches, motorcycle men roaming the Scottish highways, the reveal of what exactly happens to these hapless men as they plunge into a black watery oblivion, the closing images, etc.), . The 5. 0 Best Vampire Movies of All Time. They want to suck your blood. Isn’t that cool? Vampire movies are one of the most beloved horror genres. It helps that vampires are one of the most universal monsters in folklore. Practically every region on Earth has their own version of the myth, spawning legends and spook stories and films that reflect every aspect of our shared cultural revulsion – and fascination – with the undead. There are scary vampire movies, funny vampire movies, erotic vampire movies and action- packed vampire movies. And then there’s everything in between. But what are the best vampire movies? That, dear readers, is what we are here to discover. Crave has set our four film critics – William Bibbiani, Witney Seibold, Fred Topel and Brian Formo – about the task of selecting The 5. Greatest Vampire Movies Ever Made. Each critic was invited to vote for up to 5. Their votes were then tallied and the top 5. With the vampire movie genre so wide and varied, it only makes sense that our list of The 5. Best Vampire Movies should reflect that variety. Our critics have different specialties and tastes (that’s why we hired them), and between them they nominated established classics, cult favorites, art house oddities and quirky comedies alike. Some films may surprise you and others may seem like no- brainers, but that doesn’t make them any less great. Our critics’ selections range all the way from the 1. Top 5. 0), and very few filmmakers and actors appear on the list more than once. The only sweeping observation we can make with certainty is that Dracula is still the king of the vampires: the character appears in, or is directly related to 1. Top 5. 0. Even more if you include our runners- up. So without further ado, here they are. How many of The 5. Best Vampire Movies Ever Made have you seen? Slideshow: The 5. Best Vampire Movies Ever Made Continue to Page 2 for 3. More Recommended Vampire Movies!
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